In Goodrich, he plays a gallery owner who must look after his nine-year-old twins when their mother leaves to go to rehab.
as a reluctant house-husband obliged to vacuum and shop for groceries while his wife goes to work, a hilarious role reversal in the eyes of 1980s Hollywood. How much has changed since? The question remains open in Hallie Meyers-Shyer’s, with Keaton as Andy Goodrich, a workaholic Los Angeles gallery owner slipping into potential irrelevance .
All up, there are a lot of corny, old-fashioned elements in this slice of upmarket life, from the rippling arpeggios of Christopher Willis’ score to the big emotional speeches where the characters tell us how they really feel. Some scenes are simply clumsy, such as a visit to a feminist poetry night where it’s unclear how much satire is intended.But if you can stomach all of that,has its rewards.
The film is also a chance for Keaton to remind us how good he can be, especially when he has an acting partner who can keep up with him, such as Kunis or Michael Urie . Like many Keaton characters, Goodrich is a salesman even in his personal life, with a gift of the gab that allows him to skate over anything too tricky. But Keaton’s relationship with the viewer is another matter: rather than straining for likeability at all costs, his performance lets us judge how far Goodrich is capable of overcoming his self-involvement this late in the day.Nor is Meyers-Shyer as straightforwardly sentimental as she looks.
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