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This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Exactly the movie you think it is, but not the movie you want it to be.

It's a feast for the eyes. But what really makes this dramedy work is the acting.

Story: It's very simple but honestly that is fine.

If you will interpret the rating of this film as anything, interpret it as the ratio of open-minded viewers (60% of ratings) against the closed-minded people (about 40%) who view this as some sort of religion or cultural message to everyone in the world - or perhaps just view every movie as a just statement of how everything should be. It's really not.SPOILERS AHEAD:This is a film that took a more mature route - given it's difficult and common issues at hand, than what some people would have accepted. One of the reviews here called the ending as "black-and-white" thinking and degraded it for sending the message that "it isn't ethical or right to commit to marriage at such a young age". The movie was not at all biased about this issue, and rather took it maturely and accurately. If you look closely, as mature as Dave seemed to be and how willing he was to work things out, he couldn't give Raf a thoughtful answer as to why he decided he wants a baby with her. He is young and emotional, and at the moment it showed how uncertain he was - but don't mistaken his true love for her; commitment and love are separate things. The issue of whether it's a good idea to proceed with a relationship with that kind of age gap is all a matter of personality and circumstances. Dave is an emerging artist, and although he could be mature enough to handle a serious relationship and children, it would conflict far too much with his type of career and his current position this early in the art industry. If Dave was someone who worked a stable job with good pay, this wouldn't be a problem and the outcome of the film could be very different. This is an extremely honest film and it has some of the most touching characters I've ever seen in a "chick-flick". It makes me so sad that Raf's "childish" wonder and her attraction to a younger man like Dave is probably rooted from the robbing of her "childhood" by her family's upbringing of her, and her early marriage. She deserves Dave so much.If there is any kind of flaw in this film, it would be that Dave's upbringing should've pushed him into that commitment with Raf of getting married. I don't know much about Judaism, but as a Christian, marrying at a younger age is very common, and Dave is more than capable of doing that with Raf. The conflict of love and profession is a timeless tragedy.

Prime starring Meryl Streep, Uma Thurman and Bryan Greenberg is not exactly your typical romantic Hollywood movie. Streep is of course great in her role as the therapist of the 37 year old woman her 23 year old son is currently seeing. Uma Thurman was pretty good Rafael. I liked her performance mostly in the dramatic scenes, the deep talks her and Greenberg would have. Bryan Greenberg also gives a very good performance here, he wasn't just the cliché male love interest, his performance gives his character a good amount of depth. I liked the chemistry between Greenberg and Thurman, it worked. Good on screen chemistry is sooo damn important, without it, why should I as the viewer care about what happens to these people in the romantic relationship? Streep's chemistry with Thurman during the therapy sessions works too. That is mainly where the comedy comes into play. Hearing Thurman vividly describe the sexual proclivities of her and Streep's son is just flat out hysterical! Some of the lines of dialogue Thurman has to deliver with such passion are so hilarious, and Streep's horrified reaction to it all is perfect! Awesome comedic situation. That really was the only part of the whole movie where I laughed and thought what was happening was funny, which is good because the rest of the film is supposed to be dramatic, and the drama works very well. The ending to the movie isn't cliché, and I love it for that! The ending is actually very touching. 8/10

I realize this was a movie, but the idea that a counselor would continue to see a patient who was in a relationship with her son is so unethical I could not enjoy what few pleasures there were in this movie.I reduced my rating when I considered the "ick factor" of a mother discussing her son's penis with his lover.The best thing about the movie was the song at the end, "I Wish You Love," by Rachel Yamagata.SPOILER ALERT I will say I did appreciate the movie's refusal to go with the love conquers all ending. I don't like sad movies, but why no one makes movies with that exquisite pain of lost love like "The Way We Were."

Broken, confused divorcée Uma Thurman consults Meril Streep who is a therapist, then embarks in a relationship with -surprise!- her son. There is food for comedy and sparkling performances. The results are equivocal - equivocal not in a persuasive way, despite the seemingly adult ending.The premise and the promise are two immovable mountains, to put it in a quirky way. I mention this because the film is garnered with shots of nature, city, nightlife vistas, as if for the transitive moments, for the sheer pleasure of it, where romantically we gather, our feelings, remembrances, that romantic thrust embedded in that curious, promising sense of the here and now, especially when one is in love or broken-hearted. But these shots come off unfortunately decorative, or with an experimental feeling the film does not guarantee.I look at the transitions, form one mood to the other, that look like commenting on life's and other films' endearment (screwball touches, an almost mute catalyst, the generically employed characters etc). But a somewhat noxious charm occurs, unaided by some unfortunate lines, and some easy (or uneasy) fire-escapes through the fag-hag ladder (weekend at the gay friend's mansion). The transition seems forced, so that at the end the surprising -quasi-recognition, quasi-accepting, quasi-heartfelt- look in Uma Thurman's eyes seems enclosed in a condescending distance, coming mostly from the film's previous endeavors to charm so many comical and lighthearted of the well-you-know kind moods (along with blurring feminist and gay agendas just to abandon both at the end for the sake of an abstract experience-gain), that we have not a song of experience, but an absent-minded charm of sketches, at most, while someone absent-mindedly telephones. Or just stands by the phone, waiting.Add to that the performances: Streep is offensively not making a real effort, making the investment in the triangulation of such a relationship shallow. Thurman is good, though strenuously asking her neurotic, growing-up questions (or her adult standing-back at the end), and Greenberg is convincing, save for wondering what he has to do with his wandering nakedness, where he fails to transform this card-board shibboleth into a meaningful object.