Featured Audience Ratings

• Jim H

  
  A wife falls in love with her neighbor. We have seen this story dozens of times: the plot is <i>Bridges of Madison County</i>, <i>Unfaithful</i>: and countless others. But Michelle Williams's performance is beyond compare, and Seth Rogen gives a… More
  A wife falls in love with her neighbor. We have seen this story dozens of times: the plot is <i>Bridges of Madison County</i>, <i>Unfaithful</i>: and countless others. But Michelle Williams's performance is beyond compare, and Seth Rogen gives a remarkable, emotionally demanding performance. The third act scene that consists of several flash cuts is so heartbreaking because Rogen plays it straight and honestly. Even Sarah Silverman's third act scene is remarkable. What sets <i>Take this Waltz</i> apart from its peers is the level of profundity its conclusion reaches. Like <i>Annie Hall</i>, <i>Take the Waltz</i> shows that we are foundationally flawed, that our natural desires lead to our emotional ruin, that our lives can be condemned to tepidity despite our best efforts. Essentially, it's a pessimistic film, but it doesn't feel as damning as it is. Overall, <i>Take this Waltz</i> is an old story, but that's its one flaw; aside from the well-traveled ground, this is one of the finest films I've seen in a long time.

• jay n

  
  Well acted but that's far too long to get where its going and the story just isn't that involving.

• Carlos M

  
  Despite its minor flaws, which includes a clumsy beginning that relies on many coincidences, this bittersweet drama surprisingly grows to become quite mature and revealing - making organic even the contrived relationship between the character and her husband.

• Daniel P

  
  As someone who lives in Toronto, and knows people a lot like the characters in this film, I just couldn't root for any of them. So, so self-involved - these are the Toronto people that make the rest of Canada think the worst of the city. The film tries so hard to be hip, and to… More
  As someone who lives in Toronto, and knows people a lot like the characters in this film, I just couldn't root for any of them. So, so self-involved - these are the Toronto people that make the rest of Canada think the worst of the city. The film tries so hard to be hip, and to be deep, too, but the effort has the opposite effect: a gloss is put on the completely mundane and the whole exercise comes up rather empty.

• Spencer S

  
  Writer and director Sarah Polley brings another lead female protagonist to the silver screen with a story about conflicted emotions. The story follows housebound married woman Margo (Williams), who writes pamphlets for tourist destinations, traveling somewhat but truly stuck in a… More
  Writer and director Sarah Polley brings another lead female protagonist to the silver screen with a story about conflicted emotions. The story follows housebound married woman Margo (Williams), who writes pamphlets for tourist destinations, traveling somewhat but truly stuck in a house, in a neighborhood, with her husband Lou (Rogen). The film mostly deals with their relationship, how claustrophobic Margo feels with him, how she becomes conflicted about whether she wants to be with her suave neighbor, an artist and rickshaw operator. She flirts with the desire to stray, all the while still trying to reconnect with her husband, who seems oblivious to any wrongdoing or culpability in their marriage's distress. She continues to confront him time and again about how vulnerable she is and how he seemingly rejects her advances and perhaps even her love at every turn. Michelle Williams, who I find delightful in every performance she gives, comes off as repressed to the point of combustion, and gives us a look into someone who is struggling between a rock and a hard place, whose decisions we don't always respect yet we understand, and who we ultimately root for, though we're unsure why. Rogen also gives an impressively heartfelt performance as her husband, ranging between a foolhardy family man and husband, to a ravaged man whose life is turned upside down by forces he can't control. Sarah Silverman plays her sister-in-law, in a portrayal that is candidly funny while also being very sad as she goes through the turmoil of alcoholism. Really, there are some devastating moments of human compassion and longing, though it does stray into surreal territory at the end, which I found distracting and took away from the rest of the film. Still, a deeply rooted film in the human experience.

• Anthony L

  
  Away from Her has been on my 'to watch' list for while, it's only now that I've realised that it's that Sarah Polley who directed both that and Take this Waltz. I don't care much for her acting to be honest but her direction in Take this Waltz is… More
  Away from Her has been on my 'to watch' list for while, it's only now that I've realised that it's that Sarah Polley who directed both that and Take this Waltz. I don't care much for her acting to be honest but her direction in Take this Waltz is impressive to say the least. At first I wondered if it was style over content, there is only so much you can appreciate the props and sets (the wife and I gushed somewhat over the house used in the film). It's safe to say that I wasn't liking a lot of what was going on during the best part of the film, I really didn't like where it was going, I felt quite frustrated watching it. That is why the last 20 minutes has the impact it does. I've always said, a film can really redeem itself in the last few scenes if done well and this is a perfect example of that. I thought it was original and clever, never predictable and wholly satisfying. Seth Rogen deserves credit for his performance and it's safe to say Michelle Williams is my favourite actress working today, her turn in this is a good example of why, she goes from strength to strength. One of my favourite of 2012 for sure.

• Manu G

  
  New things get old. Good movie! Take This Waltz is a magnificent achievement from everyone involved, not the least of which being a magnificent work from Michelle Williams. As told by Polley, it's a moving and incredibly true exploration into an aspect of life that is rarely… More
  New things get old. Good movie! Take This Waltz is a magnificent achievement from everyone involved, not the least of which being a magnificent work from Michelle Williams. As told by Polley, it's a moving and incredibly true exploration into an aspect of life that is rarely explored. Polley's approach lacks the kind of dramatic punch that one often finds in films dealing with the subject of adultery. There's no erotic lighting, no sweaty bodies crashing into one another, and no shouting matches between splintered lovers. She removes it of all the typical bells and whistles that could make something like this appeal to a mainstream Hollywood audience and instead creates a soft, touching and remarkably human film. It's something that deserves to be admired. Seth Rogen is surprisingly effective in his role as the geeky, but loving husband. I found myself constantly rooting for him. He did a great job of making his character imperfect but likable, but most importantly, believable. Sarah Silverman delivered nicely in her role, especially near the end of the film. If there was a weak link, it was Luke Kirby, who never seemed to show much emotion at all, in a role where there was such potential for it. Michelle Williams continues to grow as an actress, able to say more with her eyes and her body language than she is with the script of lines. She is truly remarkable. The film does still have some flaws with it's pacing and there are times where it gets swept up in it's melancholy and it can tend to drag a little bit, but there is still enough rewarding things on display here to be worth a watch, even if you have to think about the film a couple days after you watch it, or even have repeat viewings. Brave viewers should give the film a chance and think about what it says about loneliness, relationships and the myths we sometimes promise ourselves, but ultimately lie to each other and ourselves about. While on a plane ride back to Toronto from a writing assignment, Margot meets Daniel, a handsome stranger. An immediate attraction is formed and Margot is able to open up and discuss some of her fears and longings. A taxi ride back home causes Daniel and Margot to realize that they are neighbours and Margot admits she's married. The summer-time heat and her increasing fascination with the handsome artist who lives across the street starts getting to her, and Margot is no longer sure if she's happy in her marriage or if she'd be happier with her fantasies with Daniel.

• ♥˩ƳИИ &

  
  "This movie is a perfect example of why I LOVE indie flicks. This is the most honest look (besides Blue Valentine) at a regular relationship I have seen on screen. Once again Ms. Michelle Williams blows me away with her performance. And holy hell Seth Rogen! This has to be my… More
  "This movie is a perfect example of why I LOVE indie flicks. This is the most honest look (besides Blue Valentine) at a regular relationship I have seen on screen. Once again Ms. Michelle Williams blows me away with her performance. And holy hell Seth Rogen! This has to be my favorite performance from him ever. I didn't know he could pull a roll like this off. Everyone in this film does an amazing job. I loved the story. It was romantic and heartbreaking all in one. Loving someone but not being in love is very hard. Especially when you love them so much that the thought of hurting them leaves you in pain and keeps you trapt in a lustless relationship. Then meeting someone while your in this other relationship that makes you feel everything you should be feeling with the person your with makes it that much harder. The story is relatable. I know many who have been in or are in a similar relationship. Sarah Polley does an amazing job with the story and directing. Plus the cast was amazing too. I loved it. I definitely will be seeing it again. It's streaming on Netflix for those of you who have that and want to see it."

• Drake T

  
  Take This Waltz is, in every way possible, a brutally honest and authentic study of love free of cliches and Hollywood nonsense. So little is said but the film resonates from one shot to the next as this emotional coaster of uncertainty openly reveals the fleeting desires and looming… More
  Take This Waltz is, in every way possible, a brutally honest and authentic study of love free of cliches and Hollywood nonsense. So little is said but the film resonates from one shot to the next as this emotional coaster of uncertainty openly reveals the fleeting desires and looming pains of what it means to chase after something so fantastical. Margo is inherently annoying, silly even! But she's a believer and if you're going to judge her for that then this film isn't for you. Her entire journey of self discovery, fear, insecurities.... should be free of the viewer's morality but ironically the ambiguity of it is a core theme to her story. The film's engagingly thought provoking with it's subtleties from start to finish so I had no trouble staying intrigued. But I also found the slow pacing elemental, it reflected what it feels like to endure Margo's position as a tormented seeker. Also I'd like to note the open ending. I would have felt cheated if an absolute was given to her quest for happiness, because ultimately, it should never end. Finally, the filmography is simply beautiful. Which is fitting for a subject with such idealized elegance.

• Raymond W

  
  Take This Waltz is an honest, truthful and emotionally intense journey through romance, love, sex, and life. Michelle Williams and Luke Kirby are simply a joy to watch as they have fantastic chemistry. Even though I thought Seth Rogan had some trouble with the dramatic scenes, I… More
  Take This Waltz is an honest, truthful and emotionally intense journey through romance, love, sex, and life. Michelle Williams and Luke Kirby are simply a joy to watch as they have fantastic chemistry. Even though I thought Seth Rogan had some trouble with the dramatic scenes, I still felt he embodied his character well. The film itself was a tad slow and meandering for it to really hold my attention near the end, but the open-to-interpretation ending is great, and the film is shot really well. Some people have complained about the emotional inconsistency of the film, or how the emotions are incomplete. I felt that that's the way it should be; life is incomplete as it is. In everyday life, we don't have time to take the waltz and spend quality time dancing with, thinking about, and discussing our emotions. Life goes by way too fast for that.

• Tracy K

  
  Surprisingly convincing and sympathetic treatment of the complexity of infidelity, self-discovery and disillusionment - the problem of what to do with the unfillable "gaps" that open up in our lives from time to time. Beautiful performances by Michelle Williams and (what a… More
  Surprisingly convincing and sympathetic treatment of the complexity of infidelity, self-discovery and disillusionment - the problem of what to do with the unfillable "gaps" that open up in our lives from time to time. Beautiful performances by Michelle Williams and (what a shock!) Seth Rogan, who bring a real sense of pain, sincerity and confusion to their characters and their relationship.

• Jonathan H

  
  Take This Waltz both illustrates Sarah Polley's unique confidence as a filmmaker and her room to grow as a writer/director. When a relationship goes bad, or stale, some people do a little dance. They keep moving, keep trying, keep searching for that spark to rekindle what was… More
  Take This Waltz both illustrates Sarah Polley's unique confidence as a filmmaker and her room to grow as a writer/director. When a relationship goes bad, or stale, some people do a little dance. They keep moving, keep trying, keep searching for that spark to rekindle what was once great excitement. And that is the dance they do in Take This Waltz, a somewhat illogical look at a romance headed into parts unknown. Actions and motivations don't always add up here. Romantic films can often be given a pass on logic, taking into account that everyone has the capability to act a little loopy when it comes to relationships; here, however, Polley's creations seem to be carrying out actions simply because they have been written down and not because they make much sense. Michelle Williams (stellar, as always) and Seth Rogen (monotonously decent, but not worthy of the praise he's been getting) play Margot and Lou, a Montreal couple who seems to love each other and enjoy being with each other after about five years of marriage. While on a trip, Margot meets, in an extremely movie-cute way, Daniel (Luke Kirby). The next convenient contrivance comes when they find out they live across the street from each other. Margot and Daniel start bumping into each other accidentally, and then on purpose. They flirt, have intelligent conversations and get to know each other. They mentally bond without the physical connections. During it all, they perform several actions that seem artificial, even for a pair of thwarted lovebirds. For example: an ill-conceived, borderline laughable non-speaking, non-touching synchronized swimming exercise (get it? They can't touch because she's married. How clever!). For much of the film, it looks like Polley is offering a treatise on how relationships last even when hitting rough ground. She even brings in the troubles of an alcoholic sister-in-law (Sarah Silverman) to underscore it (although I can't say this subplot adds much to the story). The film sports a loose grasp on its narrative throughout, and it eventually runs off the rails. This derailment accentuates how much the entire movie needs tightening. Too many scenes run on too long after serving their purpose. In terms of structure, it almost felt like someone handed Polley a "how to" manual for creating an indie drama that plums the troubling depths of relationships, and she hits all of the notes with varying degrees of payoff. Often times, Take This Waltz feels thin and entirely too self-conscious. Even the connection made between the film and the Leonard Cohen song it takes its name from seems a little forced and nonsensical. That said, Take This Waltz somehow never becomes boring and usually remains insightful and contemplative. It's an admirable and honest look at the unforgiving, cyclical nature of our expectations for relationships... if you're able to put aside the contrivances.

• Reid V

  
  If they allowed quarter notes on here, I would give this film 4 & Â 1/4 stars. Sarah Polleyâ(TM)s debut feature was a heartbreakingly gorgeous look at an elderly couple dealing with Alzheimers. In her sophomore effort âTake This Waltzâ?, Polley shifts her focus from the… More
  If they allowed quarter notes on here, I would give this film 4 &  1/4 stars. Sarah Polleyâ(TM)s debut feature was a heartbreakingly gorgeous look at an elderly couple dealing with Alzheimers. In her sophomore effort âTake This Waltzâ?, Polley shifts her focus from the confinement and finality of old age, to the uncertainty and anxiety that comes with youth. When 28-year-old Margot has a chance encounter with the artistically-minded rickshaw driver Daniel, she has to choose between the promise of this new fantasy, or the ever imperfect reality of her sweet, albeit humdrum husband. While desiring to whole-heartedly bask in this new romantic reverie, Margot must constantly battle with what is innocent exploration and what is crossing the line. Most of all, she wants what nobody can have. The knowledge of where each road will ultimately take us. Whether the one we are currently on is ârightâ? and what we âdeserveâ?, or whether we need to make a lane change. Polley effectively probes the push and pull between fantasy and reality with a series of wonderfully crafted scenes. One in particular involves Daniel & Margot on an amusement park ride. They are spinning to the sounds of The Buggles, cloaked in brilliant colors, and fully immersed in a sensual hallucination. Suddenly, they are jerked to a standstill as the ride shuts down. The mirage quickly fades and the cold hard reality of their decisions quickly set in. We all know what it is like to get swept up in what-ifs and Polley authentically recreates their magical lure on the big screen. The filmâ(TM)s power is further augmented by great performances. Williams, surprise surprise, is fantastic. But what really surprised me were the supporting performances. Rogen continues to show that he isnâ(TM)t a one-trick comedy pony and is capable of meatier roles. The same goes for Silverman who really impressed me here. She goes toe to toe with Williams in a few scenes and I was struck by how she effortlessly held her own. While I do wish her character had a few more scenes, I was very thankful for every moment she had on screen. My one big complaint of the film is that it seems that Polley was infected by the âindieâ? bug. Some of the conversations regarding âshould-vitationsâ? and other things of that sort just reeked of quirkiness. Also, do I even need to attack the fact that Daniel is a rickshaw driver AND an aspiring artist? No, because it sounds like his character was pulled straight from a book of movie clichà (C)s. Yet, Luke Kirbyâ(TM)s subtle performance saves what could so easily have become an unbelievable character. Also, a movie so grounded in reality got a bit implausible towards the end in a scene involving the police. But I donâ(TM)t want to go into too much detail for fear that I will spoil something for those of you who havenâ(TM)t seen it yet. Overall, this film is replete with inspired and very real moments.Being a married man myself, I was amazed at how expertly she nails moments of marital miscommunication. How often times a partner isnâ(TM)t guilty of malice, but of reading a situation wrong. I love that Polley didnâ(TM)t attempt to vilify any of the characters, and that she shows how decisions of this magnitude are truly life-changing and are excruciatingly difficult to ponder. It is an excellent sophomore effort and shows that Polley is not only a real talent in front of the camera, but behind it as well.

• Lorenzo v

  
  <i>"Life has a gap in it... It just does. You don't go crazy trying to fill it."</i> A happily married woman falls for the artist who lives across the street. <center><font size=+2 face="Century… More
  <i>"Life has a gap in it... It just does. You don't go crazy trying to fill it."</i> A happily married woman falls for the artist who lives across the street. <center><font size=+2 face="Century Schoolbook"><b><u>REVIEW</u></b></font></center> Sarah Polley includes Leonard Cohen's titular song at the key moment, as she tells an intense story of voided relationships. The story is of Margot, a beautiful Michelle Williams and her partially satisfying and comfortable marriage to Lou, a believable Seth Rogen. Margot perceives gaps in her relationship and sees in Daniel (Luke Kirby) what she lacks. Includes some racy scenes but in context, and it's really a stunningly beautiful, romantic and insightful movie. Not just a chick's flick but it does move slowly at times as it plumbs relationships and context, and some people won't get it. That's at least part of the issue that Polley deals with as she contemplates change, trading comfort for excitement, the known for the unknown and certainty for no longer being afraid. Polley's sophomore directorial offering feels more like a first film because it plays as if it's deeply personal. She also brings Toronto to life with bright-saturated colours and beautiful street and beachfront settings. The expressed theme of the film is exploring the gap-that potentially terrifying space between things, places, or more importantly commitment and relationships. This theme arises again and again throughout the film. Whether it's between Geraldine's (Silverman) sobriety and drunkenness or Margot's (Williams) neurotic fear of changing planes between two connecting flights (requiring wheelchair assistance even though she's not disabled) or the anxious and confusing space that exists between the love of a husband, Lou (Rogen), and the love of a new potential romantic and erotic partner, Daniel (Kirby), we are always in the gap-never firmly on one side or the other. A lovely, haunting story in which many will find reality to resonate for a long time.

• Markus R

  
  While the final half an hour touches on some interesting ideas about fulfilling relationships and true happiness, the fact that one must first wade through an hour and a half of "on the nose" diatribes, scenes which time and time again overstay their welcome and an annoying… More
  While the final half an hour touches on some interesting ideas about fulfilling relationships and true happiness, the fact that one must first wade through an hour and a half of "on the nose" diatribes, scenes which time and time again overstay their welcome and an annoying main character that is far too unlikable to root for (or even watch for that matter). From Sarah Polley, the very talented writer/director of the devastatingly beautiful "Away from Her", "Take This Waltz" is an equally ambitious (but not as well executed) story of a woman named Margot (played by Michelle Williams) who one day finds that she is unhappy in her marriage (she is married to a guy named Lou played by Seth Rogen). So when she meets a neighbor (who, of course, couldn't be more opposite of her husband) Margot begins to wonder if this new man can fill the emptiness inside of her (no pun intended). Sounds like a very interesting female driven story, right? Well...it should have been, if not for a script that is so distractingly preachy and altogether a mess. Cut and dry, "Take This Waltz" had the potential of being one the best female perspective films to hit theaters in years, but instead Polley produces a head shaker of a film that which audiences have seen millions of times before. I can't say it enough; the script is the monumental flaw of "Take This Waltz", making most of the film unwatchable. Even when some of the scenes (mostly between Margot and the other man) do work, dialogue filled with overbearingly pretentious metaphors and cringe inducing non-sexual double entendres come along and bludgeon the audience into submission. Yes, I get it Sarah Polley; Seth Rogan's character only cooks chicken and nothing else, so he must be boring, or when Margot says she hates being in-between "things" when referencing an airplane terminal, that it's a metaphor for her being afraid of being in-between relationships! No need to verbally spell everything out for me over and over again, as if I'm a small child. And clearly the most hindering aspect of Polley's script is how the most irritating character and the main character, Margot, are one in the same. For much of the film audiences will be forced to sit through Margot's incoherent ramblings, incessant baby talk and questionable actions that will not only have many viewers questioning her sanity, but also annoy audiences to the point of disengaging with the story itself. Polly has created a character that is clearly too Indie for comfort and also (and I hate to say this) may come to be Michelle Williams' worst character in her filmography. This fact, in particular, is even more astounding because every other character in the movie is written rather coherently and all of the other actors are rather good in their roles, including Rogen who is better than I've ever seen him in any other film. Final Thought: Overall "Take This Waltz" is conceptually brilliant, but unfortunately suffers from ineffective execution in the hands of Sarah Polley. If you wish to see a good adultery movie, go rent "Unfaithful", because "Take This Waltz", while is a nice attempt, is all and all an existential disappointment and not worth a recommendation. Written by Markus Robinson, Edited by Nicole I. Ashland Check out my other reviews at: http://www.examiner.com/indie-movie-in-san-jose/markus-robinson Follow me on Twitter @moviesmarkus

• Jennifer X

  
  Many people have said this before, but I agree: this one feels more like Sarah Polley's first, rather than Away From Her. But that doesn't make this film any less interesting. What I really appreciated about "Take This Waltz" was that it doesn't waste any… More
  Many people have said this before, but I agree: this one feels more like Sarah Polley's first, rather than Away From Her. But that doesn't make this film any less interesting. What I really appreciated about "Take This Waltz" was that it doesn't waste any breath trying to make us like Margo, Lou, or Daniel. They are people who act merely as (mostly) wordless characters in this tone poem of illicit desire and feminine independence. Yet there are legitimately human, realistic moments in this film that we can blushingly recognize from our own relationships, notably Margo and Lou's cloying alien speak and their bizarre ritual of "I love so much I want to gauge your eyes out with a melon baller" dialogues. And the silent dinner on their anniversary, oh my goodness. Having sex because there's nothing else to say. Oof. It's a kinda messy and fractured sort of film but I rather like its amateurish style - I don't like overtly stylized films when they're dealing with simple themes. And it reminded me a little bit of Drake Doremus's "Like Crazy" and its fairly simple message on relationships - only "Like Crazy" was totally gorgeous and totally empty (in an awesomely tolerable way, though) and "Take This Waltz" is slightly less gorgeous and much less empty.

• Everett J

  
  I'm a big fan of independent movies, but more times than not the drama's disappoint. "Take this Waltz" is no different. They take a good premise, with great actors, and turn it into a "quiet human drama" that runs too long, and drags real bad. Michelle… More
  I'm a big fan of independent movies, but more times than not the drama's disappoint. "Take this Waltz" is no different. They take a good premise, with great actors, and turn it into a "quiet human drama" that runs too long, and drags real bad. Michelle Williams(one of the best actresses today), played Margot a married woman, who meets Daniel(Luke Kirby) and has instant chemistry with him. They happen to live across the street from each other which complicated things, as they constantly try to find ways to see each other. She does her best to remain faithful to her husband Lou(Seth Rogan), but it is tested by all the feelings she is having for Daniel, and wondering if she could have a better life. The movie is plagued by too many moments of silence, and it really makes the movie just come to a halt. Rogan and Williams are both good, Williams is especially off beat and hard to read. Had it been about a half hour shorter, this could have been really fantastic, but it's just too slow. One good thing, I've been singing "Video Killed the Radio Star" all morning after watching this last night. If slow indy drama is your cup of tea then enjoy, otherwise just skip it, this isn't the type of Seth Rogan movie most people enjoy.

• c0up  

  
  'Take This Waltz'. An off-beat, cynical take on love, and what we do with the inevitable "gap" in our lives. Michelle Williams, oh-so-good. Seth Rogen solid in an understated, very different to normal part for him, and Luke Kirby was sufficiently charming. Liked… More
  'Take This Waltz'. An off-beat, cynical take on love, and what we do with the inevitable "gap" in our lives. Michelle Williams, oh-so-good. Seth Rogen solid in an understated, very different to normal part for him, and Luke Kirby was sufficiently charming. Liked the indie soundtrack too.

• Kevin C

  
  An infuriating, meandering, underwritten wreck of a film helmed by a writer/director trying so hard to make everything realistic it all just comes off as phony. At least we got the adorable pairing of Michelle Williams and Seth Rogen out of it.

• E.J. B

  
  From TIFF: Last night, I had the pleasure of seeing the red carpet premiere of Sarah Polly's new film, starring the wonderfully talented people Michelle Williams, Seth Rogen, and Sarah Silverman. Take This Waltz screams with confidence because Sarah Polly seems very attuned to… More
  From TIFF: Last night, I had the pleasure of seeing the red carpet premiere of Sarah Polly's new film, starring the wonderfully talented people Michelle Williams, Seth Rogen, and Sarah Silverman. Take This Waltz screams with confidence because Sarah Polly seems very attuned to what she wants and how to get it. This was also relevant in her previous film, Away From Her, one of the best films of the last decade. Take This Waltz is gorgeously shot, framed, and the attention to detail in each scene gives the film a lot of depth and subtlety. It is also shot and takes place in my home city of Toronto. Toronto is a gorgeous city, and while the film isn't at all about the city, it reflects how living in Toronto affects the characters' lives, where they like to go, and what they like to do, making the setting as much a character as everyone else. Even the music is by some of Toronto's most famous artists. Unfortunately, the film stumbles a lot because it's far too pretentious. The film is nothing more than a love triangle, but it tries way too hard to be this arty, Indie-rock infused statement on choices. If the film is about anything, it's about how the spark and chemistry that is so very apparent when we find new love disappears as the years go by, and we become too involved in routine, taking the relationship for granted. Sometimes, people find that spark in someone new, and too often get caught up in that new spark that they forget that said chemistry will eventually turn to routine just the same. This is a film that Richard Linklater would have made very well. Sarah Polley is too full of herself this time behind the chair that she forgets the kind of film she's making and in her quest to do something different, she chooses the wrong style for the wrong story, and almost wrecks the wonderful performances she's gotten out of Rogen, Williams, and Silverman.

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