It's an engaging modest comedy of mixed affections that owes a lot to some of Woody Allen's works like "Hannah and Her Sisters." It redintegrates certain scenes from "Shampoo" as well. This is more amusing than either of the others because it isn't deep. It's not reaching for anything but laughs and while it's not a comic masterpiece it's playful and fun.Warren Beatty and Diane Keaton are in the midst of a divorce, arguing with their lawyer over artifacts of moment -- like who gets the mortar and who gets the pestle. Meanwhile Beatty has a gaggle of beautiful girl friends around him, trying desperately to juggle his appointments so they don't meet. Funny bits are added by supporting players like the constantly befuddled Larry Shandling.The humor isn't always sophisticated. One scene has Beatty running around a house trying to zip up his pants while the husband scratches his head over the little things that just don't seem right in his home. If Feydeau could have done it, he probably would have.It's fast and colorful -- and those girl friends really ARE knockouts. I enjoy most of it.

One needs to recognize all the problems and burdens ensued by the cast and crew of Peter Chelsom's Town & Country and evoke some kind of sympathy to the final product. What began as a medium-budget comedy drama turned into a costly and inconsistent financial failure that financially damaged a studio and plunged a great deal of actors into obscurity following its release. Town & Country began as a film that was due to be a fairly quick shoot during the summer of 1998 for a release in the middle of the 1999 year. Between actor Warren Beatty's demand for many takes of each scene he was in and unsatisfied reactions to screenwriter Michael Laughlin's original ending to the film, Town & Country saw itself being developed, or more or less made up, as it went along, with production frequently stalling due to an incomplete script. When a majority of the cast had to attend to prior commitments, being that the film's shoot went well beyond schedule, the full cast couldn't be reunited for a full year, leaving a great deal of time and shelf-wear to accumulate on the film. Following various reshoots in 2000, and a rewrite of more than half the script by Graduate screenwriter Buck Henry, Town & Country finally saw itself released in theaters to record low numbers. It wound up losing over $100 million, combining a production cost that ballooned past any and all predictions and eventual marketing and distribution rights.The film remains a curious piece of history for its checkered production history, along with being the last time Warren Beatty was seen in a film. The final product is a lot more watchable than one would expect, moving with a great deal of energy and having a slew of great performers to halfway mask the shoddy material. However, Town & Country shamelessly bears the fact that its production was a mess from the get-go, appearing very disjointed, especially after about the hour mark, when the film takes one baffling turn after another. On top of everything else, the film finds itself uncertain of when and how to be funny, with certain scenarios sneaking by with no payoff, some with minimal payoff in the way of verbal banter, and others desperately trying to obtain a laugh with slapstick.We focus on Porter Stoddard (Warren Beatty), a New York architect living in a lavish home in the Hamptons, married to Ellie (Diane Keaton), a successful interior designer, for twenty-five years. One day, their good friend Mona (Goldie Hawn) informs them that she wants a divorce from her antique-shopowner husband Griffin (Garry Shandling), Porter's best friend, after catching him taking what appeared to be a redheaded woman to a motel. However, the redhead in question is a cross-dressing male, to no ones knowledge but Griffin. Furthermore, this causes a certain restlessness in Porter that he decides to act on, engaging in an affair with a beautiful young cellist named Alex (Nastassja Kinski). When Ellie discovers Porter is cheating, she is beside herself, leaving both him and Griffin to venture out to Porter's vacation home in Sun Valley for a brief retreat, resulting in predictable hijinks and locale craziness.Town & Country forgoes any kind of presumed sociological investigation as to why and how men cheat versus the reasons and methods women use to cheat in favor of rather unremarkable comedy. Despite bearing a cast of proved greats, the film wades in the water most of the time, cycling through a random array of jokes, some the driest of dry wit, others the dumbest of dumb slapstick, in hopes to obtain some kind of reaction out of the audience. This glaring inconsistency is only furthered when the film takes a turn for the inane in its third act, becoming more about situational comedy and sitcom-style gags that it feels more like a scrapped pilot for a Fox program than a feature-length film.At first, Town & Country wants to play a bit more dignified, almost seeming like a quaint, British comedy of manners. However, it rapidly descends into the worst kind of American comedy, which involves a maximum number of allegedly funny antics but a frighteningly minimal number of actual laughs. What winds up being more surprising is that despite all of its narrative issues, this film is never contemptible or even downright bad. It's sloppy and wears its problems like a messy child, but it moves with a swift amount of zeal and disposable energy. Beatty and Shandling manage to cook up something in the way of amiable chemistry at times, and Keaton finds herself in a role that, despite shortchanging her character's opinions and emotions, seems to catch her in a lively, fun mood.To see a film like this bear the hefty pricetag it does and the mainstream release it mustered is nothing but a surprise, even fourteen years later. This is not the kind of film that's likely to end up on the biggest box office bombs ever list, but more like a medium budget comedy drama that scored mediocre numbers upon release and went on to be forgettable cable fare. Town & Country bears a lot more notable features than many films of its kind, and despite them being mostly for the wrong reasons, there's an amiable quality to this film I can't shake; it's the reason my review is about two or three stars higher than it probably should be.Starring: Warren Beatty, Diane Keaton, Garry Shandling, Goldie Hawn, Nastassja Kinski, Andie MacDowell, Jenna Elfman, and Charlton Heston. Directed by: Peter Cheslom.

Warren Beatty as a stumbling, bumbling, unfaithful husband--a well-to-do architect who can't even climb onto a roof without falling off. Married to fabric designer Diane Keaton for 25 years, Beatty has a fling with his best friend's soon-to-be ex-wife while carrying on a breezy affair with a pretty cellist. While on a fishing vacation with buddy Garry Shandling, he comes close to sleeping with two other eccentric females out for a good time. Though co-written by crack comedy vet Buck Henry, "Town & Country" is slow and stupid. The skittering sort of geniality which comes with watching an all-star cast in a big-budget production is enough to hold interest for awhile, but the characters don't take shape and the jokes never materialize. The sub-plot with flirtatious Andie MacDowell bringing Beatty home to meet her bombastic parents is bad enough to stop the picture dead in its tracks, and it really never recovers from this gaping pothole. Shandling does some nice underplaying, Goldie Hawn is attractive, and Beatty has one or two amusing moments of comic confusion. Otherwise, this troubled concoction sinks like a ship of fools. *1/2 from ****

It seems that the people behind this drudge of movie took all their cues from Woody Allen's movies during the 1990s. What I mean is, "Town & Country" is about a bunch of rich New Yorkers cheating on each other. I'm sure that everyone involved in it must be embarrassed beyond redemption for having gotten involved in it (and I don't just mean because of its abysmal performance at the box office). The only good character is Charlton Heston, basically spoofing himself. And how could a great screenwriter like Buck Henry have written this? He should have known MUCH better, given that he wrote "The Graduate".All in all, terrible. Fortunately, the cast members have all done good work since. At least I think that they all have.