Micah Lloyd Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

Jenna Walter The film may be flawed, but its message is not.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

Dr Jacques COULARDEAU Let's go to Paris, though it could be anywhere, in any big metropolis of the end of the 20th century, or maybe the beginning of the 21st century. Let's have a bunch of people, boys and girls, men and women, all going through therapy, I mean psychoanalytical therapy, with two doctors, a man and a woman, who are the links between them all. They all are disturbed in their sexual identification not because something is wrong with them, though the women are nymphomaniac and the men are all in between straight and gay, where the two meet, exactly where the straight line bends just before breaking. That situation has been used so often by Woody Allen that we may think Altman is making a farcical parody or a fanciful remake. But you would be wrong to think so. There would have been no reason to go to Paris then. In fact the farce is a satire, a twofold double entendre satire. The satire of all the comedies we get on the big screen that try to sound dramatic and are pathetic, those melodramatic comedies that are supposed to make us both cry and laugh and often manage none or neither. That is an easy satire, the easy level of the satire. The second level is targeting the modern middle class in western societies. They have become dead, uncreative, totally obsessed by themselves, just some dead corpses perambulating in the street that we have forgotten to bury last time they opened the gates of the cemetery. At this level the satire becomes cruel with those self-satisfied baboons we call the middle class who are essentially un-occupied, in one other word idle, and they have to spend and waste their time the same way they spend and waste the money they don't even spend any energy to make. They buy some kind of trinkets for themselves that have to be expensive and time consuming though harmless and useless. That's what psychoanalysts are all about: the circulation of a lot of money in a lot of empty time that gives you the illusion of being so busy that you get giddy and dizzy. I must say it is well done but after a while it gets to shallow to really fascinate my weary eyes.Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines

finitodistampare I like Altman 's movies "the player""Short cuts " "Gosford park" , etc. But I watched this movie in his premiere in Spain ages ago and it was a comedy( so the promotion said) , so the movie poster said and a comedy for intelligent people bla bla bla This movie is not funny at all , the dialog have no spark , you don't care about the characters at all and I remember I did not laugh in all the movie . If you ever go to a comedy and did not laugh at all you will understand what I'm talking about. It's like torture . Altman is an amazing director, he is capable of making great movies like "The Player " or incredible flops like this one .

Roedy Green I gave Altman's Prairie Home Companion my first 10, and I have watched MASH and Gosford Park many times, but this film is an embarrassment. The dialog is boring. It feels like ad lib filler. There are a few clever scenes, but for the most part you keep waiting for something to happen that never does.It gets its cheap laughs from stereotype gay characters.The colour reminded me of home movies of the 1950s. The sound was muddy.I turned off the video several times watching it out of boredom, and returned later, to give it another chance. After all, this IS Altman, Glenda Jackson and Jeff Goldblum.

NJMoon Suffice it to say, Altman totally botches Chris Durang's first stage to screen transfer by inflicting his insidious sense of style and humor -- which, while sometimes a hoot (MASH and NASHVILLE)-- here are constantly at odds with Durang's sardonic characters and quirky phrasing. Oddly though, there are super perfs by Glenda Jackson and Tom Conti. Funny line about SUNDAY BLOODY SUNDAY in stageplay is retained here despite Ms. Jackson's participation in the scene ("You remember...that English actress.") Altman's final pull-out is stunningly creative and confounding. What the...??? Sum-up: patrons at multiplex walk through door with sign over it simply reading "THERAPY". Indeed.