Si de verdad quieres...

Tommy y Meryl actúan increíblemente bien, la química entre ellos está perfecta, y seguir cada uno de sus gestos y matices en su voz es puro placer. Cuando la música (recuerdos del mejor sexo) se escucha por primera vez durante su diálogo, es más bien estorbosa. De hecho, no es necesaria, encapsula la película por gusto y le quita la personalidad que tiene gracias a la consonancia única de los dos protagonistas. Si de verdad quieres... es una película mucho más íntima e intimista de lo que cabría esperar del póster o avances. Es más un drama de relación amargo que una comedia. Escrito con sensibilidad y dirigido por un director que sabe muy bien qué dos tesoros están sentados delante de la cámara en el sofá del Dr. Carell. (15.09.2012)

America, as we know, is a country of lawyers, closely followed by psychiatrists and sexologists. Although the filmmakers didn't intend it that way, this is for me 90-minute proof why all three varieties of professionals should be avoided like the devil. Otherwise, quite a nice relationship film for the older generation, or rather a light downer, which will solve the dilemma of whether or not to put on a noose. And it's lovely to watch Meryl Streep age with such endearing grace. (14.01.2013)

Time stopped for her when she was still a whiny princess and he is an eternally unsatisfied, ill-mannered bore who doesn’t even say good morning. Six of one and half a dozen of the other. So it’s impossible to root for their relationship because both are the archetype of unpleasantness and that is a thing that not even excellent actors can change. And some relationship problems and mutual alienation after thirty-one years of marriage are reduced to the sexual sphere; which in an non-comedy movie “about real life" is risky, especially since Streep and Jones are playing a couple with a middle-aged crisis, but this time they look like they are in the autumn of their lives, so it seems a little bizarre. And add to this the director’s habit that if you don’t know what direction to go from here (which is very frequent), then put in a song that doesn’t fit the mood at all... Bah, humbug... (18.11.2012)

It seems that in recent months filmmakers have remembered the often ignored group composed of older viewers. Together with The Best Exotic Marigold Hotel, Amour and Quartet, Hope Springs is one of those films about the search for harmony in later life. In comparison with the three aforementioned European films, Frankel’s film is more clearly defined as a comedy in which the problems of old age preferably generate humorous rather than tragic situations. With its comedic feel and somewhat simplistic favouring of the sexual side of things, Hope Springs also appeals to a younger audience, who can thus learn what their parents are dealing with in their absence. Mainly thanks to the actors in the lead roles, who even manage to simulate oral sex with grace, the film’s levity does not slip into vulgarity even in the most delicate moments. The truth is that both Meryl Streep and Tommy Lee Jones are better suited to a more serious situation in which they succeed, practically without uttering a word, in expressing the weariness of a marriage from which all spontaneity has dissipated (the routine preparation of breakfast). In most of the scenes, however, the problem of a worn-out relationship is addressed more straightforwardly – with frank dialogue on a marriage counsellor’s couch (I didn’t believe Carell in the role of the counsellor, even though he tried to play it with a straight face). Because it’s placed in the context of therapy, the whole deconstruction of the marriage seems rather forced and after the likable introduction, when we are briefly familiarised with the cause of the wife’s discontent, the film turns into a psychology handbook whose unconcealed aim is to defend marriage. Though the woman is the agent of change, the film is essentially anti-feminist in the sense of “even though you live with an impractical, sardonic cheapskate, he is still your husband, so just do your best to again enjoy living with him”. Nevertheless, Hope Springs is still worth watching for its acting and for its attempt to much more thoroughly open up for the American mainstream a subject that was previously addressed in, for example, the German film Cloud Nine. 70% (05.02.2013)

Meryl Streep is simply an actress who, in recent years, has been alternating between big films and smaller, more relaxing ones. But all of these films have one thing in common: Meryl delivers absolutely brilliant performances. Sometimes on her own, sometimes in harmony with other actors. The first scenario applies to "The Iron Lady," the second to the film "Hope Springs," where her excellent co-star is Tommy Lee Jones. This duo plays a married couple who, after thirty-one years, function in such a routine manner that it seems they don't even realize they are still together. Their shared life is an unbelievable stereotype, and it seems to lack any emotion. But she wants to do something about it. She seeks professional help from a therapist who assists married couples. The therapist is played by Steve Carell, who once again shows that roles where he doesn't clown around suit him much better. In its result, the film is actually quite schematic and follows established patterns, but it's not so much about how it ends, but how it unfolds. Obviously, young people might say that it's not very fun to watch two old folks trying to rekindle their romance, but that's precisely the beauty of the film. I don't mean the romance, but how they try to find their way back to each other. In the end, neither of them wants to give up, and even when things look really bad, there is still some hope, albeit weak. The performances here are absolutely crucial, and both Tommy Lee Jones and Meryl Streep deliver absolutely brilliant performances. It's a beautiful, touching story that lacks originality but excels in the actors' performances. More: http://www.filmovy-denik.cz/2013/01/little-ashes-nezapomen-na-me-butter.html (05.03.2013)