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Best movie of this year hands down!

I don't have all the words right now but this film is a work of art.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

This is actually a very cute and amusing movie. I had not heard of it, and had no interest initially when I stopped channel surfing to check it out. Ended up renting and thoroughly enjoying it. This movie is every bit as good as "Something's Got To Give", or the best of Woody Allen's sophisticated comedies about the relationships of New Yorkers. The characters are well-developed, engaging, funny and plausible. As to the many unfavorable reviews, I don't get it, or maybe it's just that they don't.... My guess is that the cast didn't camp it up enough for their tastes, as the script never steps over the line into absurd (see "Royal Tannenbaums"). Anyway, give it a chance, you may be pleasantly surprised! I was

Saw this twice yesterday on IFC. Who knew a $90 million budget qualified as an independent? The roads and schools and hospitals and fresh water systems $90 million could have built in some third-world country, these bozos decided that $90 million would be better spent on this stinker!The characters are selfish or self-absorbed or sex-crazed or just plain nuts! And like the rotten cherry on top, Charlton Heston is a gun-toting wacko who has a less-than healthy relationship with his "Buttons".For a film supposedly about the consequences of infidelity, it wimps out. Alex cheerfully tells Porter she's preggers, then cheerfully reveals he isn't the daddy. Such jaw-dropping stupidity makes you question your faith in humanity.No doubt, Warren Beatty snared ex-paramours Diane Keaton and Goldie Hawn so his massive ego could justify hooking up with women young enough to be his grand-daughters, then hired Peter Chelsom because Alan Smithee was unavailable. With "friends" like Shirley's baby bro, you don't need any enemies!

There was nothing funny about this movie, and it could have been funny. It showed no real comic respect for marriage, for women, or for the children of the skirt chaser. It was vulgar. I disliked nearly all of the main characters, not a good sign. Warren Beatty as super attractive to all these younger women--out of the question--simply not realistic at his age. So the plot rationale was poor. One younger woman, maybe, several, no. Worst scene--him together with Goldie Hawn. Trashy, embarrassing, vulgar. I wanted it to be much better than it was, because of all the major stars in it. Jenna Elfman was probably the funniest thing about this movie. Charlton Heston was a disaster, a sad parody of himself. Gary Shandling had a few good lines. But mostly all the talents were wasted. Diane Keaton and Jack Nicholson did this type of plot much better in Something's Gotta Give. That movie was funny and tongue in cheek--it worked.

I remembered seeing the advertisement for this movie at my local theater when it came out. But I was unaware of the nightmare it was to film it & release it; all I did know was that it was in & out of the theater faster than COOL AS ICE. I had no idea this movie even existed until I read James Robert Parish's book FIASCO, which has a chapter on the making of TOWN & COUNTRY...and which, rest assured, is more funny & believable than what shows up on the screen.After searching relatively high & low to find this movie (it was released on DVD, but logically, stores do not exactly keep a copy on hand), I watched it knowing about its history & that chances are, I would likely want to throw things at the screen. I am glad to say I made it through the first viewing alive, but will start by saying that no, this movie is not a winner in the slightest. Yet is it an all-around creative bomb? Not so fast.Starting to film without a complete script was the oldest mistake in the book & they made it. Yet while it may have been a patchwork effort without much rhyme or reason, some lines were funny & rather inspired (most of them coming from Garry Shandling, who almost walks away with the movie, such as it is). Maybe having mature, veteran actors mouth some of the more scatological dialogue (as if this was supposed to be a senior's version of American PIE) was not wise, but that is often funny to watch in itself. Diane Keaton's line near the end, "Is there any women in this room you haven't slept with?", could easily be what audiences have been wondering for years. The only thing the script missed was continuity & structure, and all that showed on the screen, resulting in a film that looked & acted choppy, with many characters played by big names being reduced to glorified cameos, making you wonder if there is a lot left on the cutting room floor (but we cannot blame the editor for all that, seeing as how they did not have much to work with). The producers should have been well aware that working with Warren Beatty, a famously noncommittal perfectionist, was not going to be clear sailing. Part of (if not all) the script problems can be laid at his door, since he kept insisting on changes to the dialogue, taking up time & (most obviously) money. And of course, Warren was in his early 60s when he made this movie, playing the same old Casanova he always did. Audiences, most especially the young people who make up a large part of who goes to the movies, are not going to buy that anymore, or are unwilling to try. The studio should have saw this in the beginning & realized the chances of a box office success were slim to none, and thus rein in the budget before it went haywire.After reading Parish's book & seeing just how things went bad with TOWN & COUNTRY, I rather think a movie about the making of a movie like TOWN & COUNTRY would have been better (and with all the same actors). What went on behind the scenes was funny & screwball in itself, and most of all, it was not even scripted at all. There was potential for a movie like TOWN & COUNTRY, but if a script had been agreed on before the cameras started rolling, then the financial fallout would not have been so large. As it remains now, it is one of the biggest box-office duds in Hollywood history, and the chances of it ever turning a profit are almost nonexistent (just think about inflation).Final thoughts: For what it was worth, the actors gave it their best shot with this movie, never once placing tongue firmly in cheek with their parts (though, by all accounts, that would have improved things). I am not sure if anyone of them knew they were making something special.A good portion of the script was actually funny, but whenever it tried to get serious & make some kind of statement about infidelity & morality, it went downhill from there. Even the much-bandied-about ending is so artificial & predictable, you can see it coming from a mile away. More of a cop-out & a feeling of "Let's just finish this thing already!" Most of the people involved in making this movie have survived professionally, but only time will tell how Warren Beatty fares (that is, if he makes another movie again). Hopefully, the TOWN & COUNTRY incident awoke him to the fact he needs to finally revise (or abandon altogether) his stock character if he ever wants to work regularly & be taken seriously again.