This movie has been trashed by a lot of folks, both professional reviewers and amateurs, and gets an overall little better than a "4" average in this site. Some I've seen have given it a zilch - not even 1 star. There are those who bemoan Altman's ruining Durang's great play (c'mon, he's a good one, but certainly not Shakespeare, and this story isn't "Hamlet"). Besides, he wrote the screenplay, too, and who - either writing or viewing this film - should be surprised at Altman's usual cacophony among the participants. This signature trait of his is why so many folks are at the opposite extremes in their opinions of Altman's work (I'm one of those who love his films). "Columbo" is one of my all-time favorite television shows, especially the earlier ones (after only the great "Larry Sanders Show;" don't know whether "Larry David" will settle into 3rd place, or nudge-out Peter Falk). My late mother couldn't watch "Columbo," although detective dramas were always her favorite genre. She couldn't abide his mumbling, and the way he always schlepped into and out of scenes, and always came back for "just one more thing." She was very intelligent, and didn't need me to explain that these were the key elements of this iconic lead character - she simply didn't like them. So it should be with those who watch an Altman offering and then bitch about it. Go watch some "Capra," no less great in his own way than Altman, but you'll keep your blood pressure down. This flick is outstanding, in my opinion. The characters are quirky (understatement), funny, sympathetic and interesting. The main cast - Goldblum, Hagerty, Guest, Conti, Jackson and Page - are wonderful, as are the supporting group. I'll admit - making the film in Paris, with a New York setting, is unusual, and seems at first an interesting puzzle - but not really (who wouldn't, for example, take the opportunity to film a story set, say, in Los Angeles, in Madrid, if the producers would approve?). This is one of those films, also, where I find myself rewinding the DVD to see certain scenes over again, every time I watch it.

Altman usually is brilliant, but after many viewings of "Beyond Therapy" it does not come together, as a comedy. And I wanted it to be great.As usual, Altman, records the sound, in a real life conversational style, you have to strain to hear the lines. A second viewing will get you into the comedy, but you will have to work for it.Odd casting left me cold, but they did well, especially Glenda Jackson, and I loved her best.One of Ms. Jackson's last film appearances, before becoming a PM in England.Clever shots, in the window from the outside, was realistic, as you felt you were actually overhearing therapy sessions. Bein a family therapist myself, I found the story especially, amusing.They must have had a lot of fun, making this film.I wish I could have joined in the party, but felt remotely distant from the action, as an uninvited guest. Stage play originally, which had a short run in LA.Eat before you see this film, as the film's story will leave you hungry for dinner.

Comedy is hard. BEYOND THERAPY is, arguably, Christopher Durang's best play and Robert Altman's worst film. The casting of the film is not terrible -- on paper. But almost every other aspect of the film -- the direction, the look, the sound -- is wrong-headed, -hearted, and every other relevant organ-ed. Still, going on the principle that an artist should be judged by his best work, not his worst, enough about Altman. Even Homer nodded and I don't mean Homer Simpson, but, come to think of it --. Durang's comedy remains incisive and hilarious. From the perspective of 2004 it seems so embedded in its era that it effortlessly transcends its time -- like Restoration Comedy on a good night. This is nigh-on-impossible to see in the film, but it is happily evident in an audio recording made in 2002, featuring a splendid cast of gen-u-ine comic actors, headed by Catherine O'Hara, David Hyde Pierce, Kate MacGregor, and Richard Kind. It's "pure '80s." It's the "me decade" pressed down and flowing over. The peculiar idiocies of idiotic therapists are skewered on Durang's pen as are personal ads, grotesque drama (Eck! Eck! EQUUS!), let-it-all-hang-out personal interaction, and wildly "inappropriate" therapist/patient relationships. It is laugh-out-loud wonderful on CD and may serve to comfort the Durang and Altman fans who are justifiably horrified at the film.

Not only is Christopher Durang's delicious comedy totally ruined on film, the sound quality in many scenes is so bad, it is a painful strain on the ears of the viewers. Often Julie Hagerty's soft voice is completely drowned out by traffic and other background noises. Somebody, please remake this one!