Happy Endings 2005 123movies

Watch: Happy Endings 2005 123movies, Full Movie Online – Three stories of Angelenos linked linearly by people associated with each are told. In story one, Mamie works as a psychologist at an abortion clinic, she, in addition to providing counseling, assessing mental fitness and thus approving or declining the request by potential patients for the procedure. This job is somewhat ironic as she purportedly aborted a pregnancy when she was seventeen, nineteen years ago. Her stepfather urged her to go through with the pregnancy and give the baby up for adoption, he, now dead, the only person in her personal life who knew that she went through with it. She is approached by Nicky, an aspiring filmmaker, who has proof of her son’s identity, said son who threw such information away in no longer wanting to contact her. As his application for a scholarship to the AFI, Nicky wants to make a film on Mamie “discovering” her son. Not wanting to have her story splashed across a movie screen, especially as the biological father is still in her life and doesn’t know, while wanting to know the identity of her son which Nicky won’t divulge unless she agrees to the documentary, Mamie enlists the help of her masseuse boyfriend, Mexican immigrant Javier, to throw Nicky off the track of her plan of stealing the information from him while helping him with his AFI scholarship submission. Mamie, Nicky and Javier’s lives may take a turn as documentaries often take on a life of their own. In story two, Charley, Mamie’s stepbrother, who is the biological father of Mamie’s child from a very brief sexual relationship they had after her mother and his father married, has grown up to realize his homosexual orientation. Managing the last existing of the chain restaurants he and Mamie inherited from their father, Charley is in a long term relationship with Gil, an architect. They are best friends with Gil’s friend from high school, Pam, and her current partner, Diane. Pam and Diane had once asked Gil to be the sperm donor to artificially inseminate Pam, but ultimately they decided to use sperm from a bank instead that resulted in their now two year old son, Max. Sharing his belief with Gil but not the extent to which he is going, Charley is convinced that Pam and Diane did end up using Gil’s sperm to father Max without telling them, he going on a quest to discover proof. And in story three, twenty-two year Otis has worked at Charley’s restaurant for two years. He also plays in a band. Not the best drummer or backup vocalist, Otis’ band-mates keep him in the band as his wealthy father, Frank, provides the band with many of their toys, he spreading his money easily to those in his life. Still in the closet in fearing Frank’s disapproval, inexperienced Otis secretly has a crush on Charley. Needing a temporary vocalist, the band ends up hiring Jude, who Otis met performing karaoke at the restaurant. Opportunistic Jude knows the situation into which she is walking, she using Otis’ naiveté to get to Frank and his money..
Plot: Filmmaker Nicky offers to track down the son that Mamie gave up for adoption nearly two decades before. Meanwhile, Mamie’s stepbrother (and the father of her child), Charley, along with his boyfriend, Gil, try to find out what became of the sperm Gil donated to a lesbian couple. Finally, singer Jude becomes entangled in a love triangle with androgynous drummer Otis and his conservative father.
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Ratings:

	6.3/10 Votes: 9,204
	55% | RottenTomatoes
	57/100 | MetaCritic
	N/A Votes: 85 Popularity: 7.515 | TMDB

Reviews:

Life as a View from the Window of a Speeding Downtown Metro
Writer/director Don Loos has the corner on bizarre, wiggly, frustrating, veritas-infused glimpses at the absurdity of human ‘communications/relationships’ happening right now. His previous writings (some with direction credits) include ‘The Opposite of Sex’, ‘Boys on the Side’, ‘Love Field’, and ‘Bounce’, all of which explore the desperate need for regular people to find just a hint that their time on the planet makes a difference – at least in some small way despite their larger delusions. His characters are quirky, both bigger than life and pathetically dreary, and cross the lines of the expected borders of types: Roos is one of the few directors who consistently plays the ‘minority groups’ (gays, lesbians, African Americans, Hispanics, etc) as simply other characters on the playing field of life. And for that he deserves some respect from everyone.

HAPPY ENDINGS (suggestively referring to the ad promise found in masseur/masseuse in the Massage Available columns of magazines and some newspapers!) follows the lives of multiple characters whose rather insignificant existences intersect in random ways that produce ten ‘stories’, all interrelated. Topics on the table include abortion, gay relationships, homophobia, parental dysfunction/child dysfunction, emotional manipulation, blackmail, film-making, artificial insemination, failed dreams, and more. Sound like ingredients for a comedy? Well, no, but in Roos’ funky hands these incipient tragic topics weave through tragic trails that result in dark comedy outcomes. And that is the fun of the film.

Yes, there are problems with the movie that others have pointed out well. The gimmick of sidebars explaining what the script doesn’t attack, visible on the half screen with scene change action, begin as clever and end up as annoying: if the script can’t carry the issues without footnotes then there is just too much information for the viewer to digest. What keeps this movie afloat are the performances by Maggie Gyllenhaal, Lisa Kudrow, Jess Bradford, Bobby Carnavale, Tom Arnold, Steve Coogan, Laura Dern, Sarah Clarke, Jason Ritter, David Sutcliffe and Amanda Foreman. This is a talented cast and at times we feel they are actually overcoming the plot’s weaknesses with their strong imagery.

Every Roos film feels like a work in progress, but there are enough fine lines of creativity that promise us someday they will all gel into an exceptional film. This one is too long and too choppy and too difficult to follow with all the visual interruptions of sidebar words to be his best work. Grady Harp

“A more unbearable film than Gigli.”
An unsuccessful attempt is made to tie all these loose threads together into one coherent story. Even more irritating than the film’s third act triumphs is its lack of faith in moviegoers’ intelligence. The surface smoothness can’t make up for the deeper flaws…it fails signally in establishing any solid emotional connection with most of the people it portrays. Trouble is, every character is having problems in a homo-hetero-Angeleno world but they lacks substance, each little more than a composite of quirks and one-liners. Happy Endings is the kind of self-conscious puzzle picture in which characters behave in ways that serve the plot but in no way resemble things that actual human beings would be likely to do.

Other Information:

Original Language en
Runtime 2 hr 8 min (128 min)
Budget 0
Revenue 0
Status Released
Rated R
Genre Comedy, Drama, Music
Director Don Roos
Writer Don Roos
Actors Lisa Kudrow, Steve Coogan, Maggie Gyllenhaal
Country United States
Awards 6 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, DTS
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory Consolidated Film Industries (CFI), Hollywood (CA), USA (film processing), DeLuxe (color), EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate)
Film Length 3,628 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 500T 5218, Vision2 Expression 500T 5229)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic)