Beanbioca As Good As It Gets

Crwthod A lot more amusing than I thought it would be.

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

tampinator A very cleverly titled film, The Turning Point, it has as we discover two meanings, one literal and the other metaphoric. I must say, I loved this film, one of the best dance based stories I've seen, with some excellent acting and outstanding ballet dancing, and a leading female character who actually could dance ballet beautifully, no need of a body double.....not to mention Baryshnikov who's dancing was stunning to put it mildly. For a dance based film the 'plot' was seemingly quite straight forward until the two leading lady characters finally got around to having it out with each other, it was then we could see how layered their relationship had been. Highly recommend it.

ijonesiii Ballet has never really been user friendly subject matter for movie box office potential but 1977's THE TURNING POINT was remarkable exception to that school of thought. Not only did this film preserve on screen some of the most beautiful ballet dancing ever scene forever, but it brought two Hollywood icons together for the first time who both turned in the Oscar-nominated performances of their careers. As a matter of fact, this is one of two films in Oscar history (THE COLOR PURPLE being the other) that was nominated for 11 Oscars but didn't win a single award. Nonetheless, it is still a compelling and riveting melodrama which uses ballet as its backdrop. The film focuses on two women, Emma Jacklin (Anne Bancroft) and Deedee Rodgers (Shirley MacLaine) who were both in the same ballet company many, many years ago and were competing for the lead in a new ballet when Deedee became pregnant and Emma got the role and this is way their relationship forked and their lives went separate ways. Deedee got married to a dancer in the company (Tom Skerritt) had three children and runs a dance studio now, but part of her still yearns to be a prima ballerina. Emma became the prima ballerina that Deedee wanted to be; however, Emma's life is all about work now...she takes class, she dances, and she goes home to her dogs. When Emma's dance company comes to Deedee's town, they are reunited and both begin to quietly choices that they made. Thrown into the mix is Amelia (real life prima ballerina Leslie Browne), Deedee's daughter who may be a better dancer than her mother ever was and Emma begins to groom and pulls strings to get her in the company which causes further resentment from Deedee. This movie is about choices, regrets, crushed dreams, and dreams fulfilled. Bancroft and MacLaine turn in grand performances and the dancing of ballet superstar Mikhail Barysnakov and Leslie Browne is outstanding (even though every time Browne opens her mouth you want to stuff a sock in it.) A beautiful melodrama anchored by supreme performances by two of the best actresses in the business.

CGMAETC As ballet movies go, this is one of the better ones. It really captures the essence of a company: the rising star, the oversexed male dancer, diva choreographers, budget-conscious artistic directors, and the unique sadness that is the aging ballerina. MacClain and Bancroft deliver their contrived dialog with expertise (even though it appears they did a lot of ADR because the dialog seems to be dubbed) and they handle their relative roles with ease. Bancroft plays the aging diva with perfect grandness and MacClaine is great as the regretful mother. I can overlook the fact that a summer-study student, no matter how brilliant she is (and the young lady here is a highly talented dancer) WOULD NOT get a lead, let alone a solo number in her first year, but the plot is a bit thin, yet it makes it's point: the grass is not always greener on the other side of the stage. The best part of this movie is the dancing, of course. Misha is poetry in tights, always exhilarating and breathtaking. Though the movie was made in the 70s, it still rings true today in the world of ballet.

Peter Swanson After my 26th time watching The Turning Point I stopped counting my viewings. Some viewers might say it's not a tightly-written drama, and I don't care. For anyone who's ever enjoyed a dance performance, this is a must-see...or must-OWN. Mikhail Baryshnikov, recently-defected and at the absolute peak of his extrahuman abilities, is nothing short of breathtaking in this film. The first time he's shown dancing in the rehearsal studio invariably takes away my ability to breathe.I also admit that I like the stories which provide the framework for the dance performances. When The Turning Point was originally released, I was about to turn 30. Now bumping my head on 60, I've seen the decisions, transitions, and forks in life's road which face all the film's characters, and have a much greater appreciation for the truth of the film. Shirley MacLaine, Anne Bancroft, Tom Skerrit, and Anthony Zerbe are, as we'd expect, excellent. The 18-year-old Leslie Browne is lovely, and a fine dancer. I'm particularly fond of Alexandra Danilova, one of ballet's immortals, as the matriarchal Madame Dhakarova. In the scene where she's coaching a much-younger woman on the Don Quixote pas de deux, she performs the role not only more correctly, but also more playfully and flirtatiously than her student. It's a treat to see. I love dance (see review of All That Jazz), and I admit my bias freely. In addition to spectacular dance performances, there are good, human stories behind the 70's clothing and hair styles, so watch this film at least once and decide for yourself whether you'll see it again.