5 to 7

I had no idea what a great movie this would be. Or how good Anton Yelchin actually (already) was, as an actor. This is the best romantic movie that I've seen for several years, with incredible dialogues. It is so rich, in so many ways, combining wisdom, life experience and humor. Nothing but love for this one.

Utterly charming throwback to the French New Wave. While the title refers to Agnes Varda's Cleo from 5 to 7, the plot feels a bit more like Rohmer's Chloe in the Afternoon, and Truffaut's Jules and Jim is featured prominently in the film itself. As it moves on, it switches from a more intellectual French view of romance into a more passionate American view of it. Despite becoming more conventional, it works well thematically with the clash of French and American values. The film follows a 20-something writer in New York City (Anton Yelchin, still feeling a bit forced with an American accent) who falls for a married French woman (Berenice Marlohe). He doesn't want to be a homewrecker, but she insists that this is perfectly normal in her culture and that her husband (Lambert Wilson) has his own mistress (who will appear later and be played by Olivia Thirlby). It just has to be kept casual, and between 5 and 7, which is like the understood times these things are done. The relationship blossoms and Yelchin soon even becomes part of the family. As a young American, though, Yelchin's love grows too big and he hopes to make more of it than just an affair. This is a remarkably charming little film, and a surprisingly romantic one. It may not be that surprising, but it's quite good. Glenn Close and Frank Langella also co-star as Yelchin's parents.

It's a love story. It's a coming of age story. It's a class-of- cultures story. But to call "5 to 7" a "romantic comedy" is to evoke images of all sorts of rom-com clichés that this film does its best to avoid. There were moments when I expected the movie to go in a predictable direction, and it didn't. I thought this was going to be a movie about a young, sheltered writer who could never achieve success until he stopped writing and started living -- but, while this played some part, it wasn't exactly that, either.

Best of all, I adored every character in this movie. There are no villains. The only villain is life -- the inherent complications in good people's lives that, try as you might, you can't dodge. The two principals, Anton Yelchin and Bérénice Marlohe, were perfect. Frank Langella was hilarious; Glenn Close touching. And the sprinkling of real-life people into the story was handled exactly right.

It's a shame that this movie has had such a limited release. It is truly a wonderful film.

This is one of those small gems of a film which is best viewed knowing nothing or very little about its details. The acting by all is good; Frank Langella, Glenn Close and the main French actress are the standouts. The story is sweet, if a tad implausible, but then all good love stories must have an element of implausibility to capture our imagination. Despite what other critics have written, I thought Anton Yelchin was wonderful. He is awkward, skinny yet confident -- his style is endearing and believable.

This is an unconventional, small film which took me by surprise. Well worth the watch.

5 to 7 is a smart, endearing, and entertaining film, well interpreted and, while in the course of deftly playing off cultural stereotypes, resonantly manifesting significant character development.

The plot revolves around a romance with repercussions that demonstrate a significant gap between American and French social mores. That very gap becomes the stage for the film's comic zone, where the protagonist and his parents manifest the angst that generates its constant chuckles and a few really good belly-laughs.

The film fits squarely into the Uptown New York awkwardness-generates-witty-repartee pattern that has been so well established by Woody Allen and followed by Whit Stillman. Well crafted dialogue delivered convincingly.

Anton Yelchin turns in a compelling performance as the protagonist, Brian. He interprets a highly endearing character: sensitive, intelligent, thoughtful, driven and respectful. He and each of the principle characters display commendable characteristics that make them all highly likable.

Bérénice Marlohe glows with exuberant kindness and empathy. Lambert Wilson, expertly portraying that which Americans find both typical and impenetrable of the (particularly aristocratic) French, reveals therein universally-recognizable and enviable grace and integrity. The audience at the Miami Jewish Film Festival howled with laughter as Glenn Close and Frank Langella, playing Brian's parents, masterfully interpreted the Jewish martyr-mother and stubborn father, respectively.

Victor Levin's directorial sensitivity enticed each of these actors to interpret stereotypic portrayals in a loving manner, to great comic and dramatic effect. Levin walks the line perfectly without offense. The characters are not caricatures: they are quintessential and highly endearing and human incorporations of their representative communities.

As the plot unfolds, Brian becomes a study in character development. He learns, on all planes, the value of dedication, sacrifice, and a good underlying moral compass. The story is accessible and compelling. It speaks to serendipity and the extent to which life is a sum of our experiences, most markedly seen in relationships. I found a very resonant message that these relationships are best savored with sensitivity to their context and they always be remembered with sweetness. Ain't that the truth!