This film is an apt demonstration of the old saying that you can't make a silk purse out of a sow's ear; in this case, any number of fine actors cannot rise above an inferior script. The performances seemed strained, over-the-top, and built on stereotypes, hence the two-dimensional quality of the characterizations. So frustrating to see fine actors like Thompson, Laurie, Staunton, and Branagh have so few places to go. Stephen Fry turns in the best work, because his role at least bears some mystery and nuance. It was impossible to believe that the characters who were cast as couples had ever been attracted to each other, much less married. The contemporary music seems manipulative, intrusive, and heavy handed--not much subtlety. Not much moral ambiguity, either: it's clear which characters we're supposed to love and which we're supposed to hate. Given these problems, as well as the sentimental and hackneyed ending (complete with a freeze frame of forced gaiety and laughter), it's remarkable that this film has been compared favorably to The Big Chill and The Return of the Secaucus Seven--it doesn't even come close.

When this movie was released in 1992 it sounded worthwhile. I was (and remain) a fan of many of the actors, enjoyed Rita Rudner's comedy, and had been impressed with Kenneth Branagh's work to date.But I never got around to seeing it until recently, and now I understand why it received middling to poor reviews on its release.From the first scene following the opening montage, the entire film feels simultaneously flat and strident. None of the characters feels natural. Each actor is playing an archetype, and with no subtlety. The script is cliché-ridden and the actors seem compelled or directed to over-deliver every line. The final scenes are truly painful due to the hackneyed, awkward delivery, and the forced gaiety of the final scene. There were a few enjoyable moments, but the movie never comes together. When it was over I felt relieved, and embarrassed for the participants.The house and grounds the story is set in are gorgeous, though.

Film starts off on New Years Eve 1982 with a collegiate musical troupe giving their final bad performance. It cuts to 1992 where one of them named Peter (Stephen Fry) invites the whole group to his remote English castle for a New Years Eve party. We have the Andersons--Roger (Hugh Laurie) and Mary (Imelda Staunton). They've lost a child and she lives in fear that they'll lose the other. Then there's Maggie (Emma Thompson) who's madly in love with Peter. There's Sarah (Alphonsia Emmanuel) a sexually active woman who brings along her man of the moment (Tony Slattery). And there's Andrew (Kenneth Branagh) who's unhappily married to TV star Carol (Rita Rudner).This was called a rip off of "The Big Chill". It is, but it's well-made with a great cast, a wonderful script and is totally involving. This is one of the few movies that mixes drama and laughs and both work beautifully. It was also shot (I believe) on location in England and the setting itself is just incredible. All the acting is good across the board. Rudner is a delight (and has the best lines). Emmanuel sometimes overdoes her role but not enough to damage the film. Dramatic, witty, warm--basically a great comedy drama well worth catching."Did you ever see "Upstairs Downstairs"?"

Dear IMDb, Here is an excerpt of the first draft of my proposed sequel, "Who Cares About You And Your Snotty, Self-Possessed Friends Anyway, Peter?"Kenneth Brannagh (smiling coyly)Isn't my life just so terribly interesting that the world would line up to see a thinly-veiled fictionalization of it?The World (yawns)Not particularly, no.This movie is the very definition of "vanity project" by a pretentious actor-director who's canon of work seems meant to bring "culture" back to mainstream cinema but always does so in a heavy-handed fashion. Kenneth, I am sure you and your real friends are oh-so charming as you sit around your country estate sipping wine and saying clever things, but please don't make the rest of us sit and watch it.