Realistic and beautifully rendered view into the various stages and types of relationships. Brilliant acting. My goodness, what an incredible loss that we no longer have Philip Seymour Hoffman.

Possibly the worst film I have ever reviewed and, most certainly, the lowest mark I have ever given. Watching paint dry for 91 minutes would be more exciting.I have read the other reviews, the positives and, even, superlatives are a bit like the king's new suit of clothes; you have to rave over it because it is arty, well-acted and has Philip Seymour Hoffman. No it isn't arty, the acting is so-so and yes it has PSH, but so what? The stats say it all. Hardly any form of theatrical release, finally reaching Israel in April 2015 and most other countries not at all. In Israel, most films have an artificial popcorn, drinks and you-know-what intermission in the middle. I wonder how many stayed for part two? We gave up at home. And its takings over the past five years confirm it a flop.Can I say anything positive about this film? Not a one.

www.eattheblinds.comThere's no such thing as an "easy" relationship. Some work, most don't. When two people bring out the best in each other, they shouldn't take for granted something's working and worth holding on to. The world shits on us regularly and a great relationship is a comforting reprieve from this shiz storm. The hardest thing to anticipate is the inevitability of protecting the other person from yourself. We're flawed, but are we doomed to poisoned relationships because of these flaws? Sometimes yes, rarely no. Undiluted love does happen and in these rare instances, someone inspires such good in you, you can't help but be a better person than you've ever imagined possible. This is when you learn to love yourself through the eyes of someone else. It's a powerful thing. Even more powerful then when you're with the wrong person, seeing yourself doing ugly things and hating yourself all the more because of it. Perhaps the point of all this is to hold out for the right person. This is, essentially, what Jack Goes Boating is all about.The movie is adapted from Bob Glaudini's play of the same name, skillfully translated to the screen by first time director and star Philip Seymour Hoffman. Like the writing, acting and directing, the soundtrack is populated with songs (by Grizzly Bear) articulating each moment with bittersweet melancholy. Throughout the film you feel the pain without being told what the pain is. It's underplayed like most good art is and there's moments of introspection where you're allowed to find you own way into the character's heads and hearts. Because of this, Jack Goes Boating feels personal and real. The longing hurts, but it's a story that gives your heart a glimmer of hope, a reason to keep looking for love. In the end, we all want to be loved. We all want to love ourselves a little more. We all want someone we can can love and give back to them, what they give to us. Like us, these people are all flawed, yet they're there for each other, and in their moments of selflessness, we see (to quote the band Sloan) the good in everyone.

Jack Goes Boating (2010)Based on Philip Seymour Hoffman's transparent, penetrating performance, this movie will hold up in the future as well as it does now. But I think it will disappear for many years because it doesn't pull off anything sensational. And that's its strength. It's not a subtle movie, and in many ways it's a little too obvious pulling on heartstrings. But maybe that's okay turf for an interpersonal drama.The tale of two couples who are friends and who are having various hopes and troubles together as both friends a lovers is an old one, but it must be the best of material in some ways because it's the best of material in life, love and friendship. Keeping it focused on two pairs of people is not just movie-making convenience (though it is that, too), but it's the truth of life sometimes, too.This isn't an edgy story, and in some ways it's so mundane it would seem to totter into boredom. But Hoffman, as Jack, is too sympathetic and convincing to let the movie get away from him. He's a great actor, we all know that, and he's showing he's a good, if not inventive or brilliant, director as well. If there is a conventional structure--set up, hints at conflict, conflict, resolution--there is a restraint and economy to make it all make sense. A strong movie. And it's impressive now if you're in the right mood, and will be impressive in thirty years, too, if we can keep track of it somehow. I think it is already slowly disappearing from view, so give it a good look.