Rating  - mid-life humor meets family heartache
When the elderly Lenny has a "toileting incident," and his girl friend Doris dies, his baby boomer children from whom he has been long estranged travel from New York to Sun City, Arizona, to care for their dad. Jon (Philip Seymour Hoffman) and Wendy (Laura Linney) relocate Lenny to Buffalo, New York, where they put him in a "nursing home." There are curled family photos to sort through, bingo twice a week, reams of forms to sign, and palpable angst about what they've done and how everyone will cope. "We're taking better care of him," says Jon, "than he did of us." Lenny suffers from dementia and "disinhibition." Jon is 42 and single, has high cholesterol, and just lost his Polish girlfriend. Wendy is 39 and single, has a boyfriend who's married, pops Xanax for her nerves, and hopes to jump start her freelance writing career with a grant. Writer and director Tamara Jenkins was nominated for an Oscar for combining mid-life humor and family heartache in a destiny that awaits us all -- the role reversal when aging children must care for their aged parents.
Rating - Pulls very few punches
Billed as a dark comedy, 'The Savages' is certainly not standard movie fare but I think it's a film that we're richer for having around. Many have tackled end-of-life issues before but very few have done it like this. It is an unsentimental, unapologetic, slice-of-life depiction of two middle aged siblings, Linney (in an Oscar-nominated turn) and Hoffman, managing the rapid mental deterioration and death of their estranged, abusive father and the process - physiological and logistical - that entails.
It averts its gaze from none of the practical and emotional issues met by everyone whose family members live so long. From scatological problems to the appalling reality of nursing homes to the pressures of guilt, it covers the bases. It does punctuate it with moments of humor and sprinkles knowingly wry observations of sibling dynamics throughout. But there are no saccharine reconciliations or dramatic changes of heart in the last act to pull the punches. Things just happen and the people react as we all do - with integrity and responsibility in some areas and utter cowardice and flakiness in others. And with many things left unsaid.
My only real nit to pick is a slight sense of self-indulgence in the characters' professions. Everyone but the father is in the theater (or wants to be). It leads to a bit of inside humor that took me out of the movie a few times. (If you know who Bertolt Brecht is, it could open up another level of Hoffman's character to you. He briefly summarizes Brecht's epic philosophy at one point.) But it's not a huge liability.
Linney and Hoffman are, of course, impeccable but I believe Philip Bosco, who plays the largely silent role of the father, deserves praise as well. He speaks volumes with exhausted eyes and resigned yet pained stillness.
Rating - REAL
Hoffman is first rate, as always. I've never really been a Linney fan, but I could really relate to this character. Bosco was brilliant. I can only say this film's portrayal of the scenario was REAL. It struck a nerve... was raw, intense, funny at times, ironic. A real treasure of acting and filmmaking.
Rating  - The Fruits of Narcissism
It is hard to watch a movie when none of the characters are likable enough to even care about them. The father and son's characters seemed believable to me, but Wendy completely lost me. But then what would one expect from a forty year old spinster whose lofty relationship aspiration is a love-HATE affair with a married man? Watch the movie for the men's acting, but don't expect to get any edification on family relationships. The best I can say for this movie is that it raises the question (but gives no answers) of caring for elderly members of our families who are distinctly failing.
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