The Last Five Years

Struggling dancer Cathy (Anna Kendrick) sees her whirlwind marriage start fall apart as her new husband's writing career takes off ahead of hers.

The pair tell their story through song, Cathy's beginning at the end and working backwards towards happier times early in their relationship, whereas the more level/pig-headed Jeremy does just the opposite, running away from what brought them together to start with and focusing on current problems.

It is more gritty and real than most fluffy rom-coms but viewers not au fait with musical theatre will feel that depth is lost in the all-singing narrative style. If you were left bereft by the silence of The Artist and couldn't stand the spontaneous outbursts of Moulin Rouge, then steer well clear of this.

Straight-up rom-com fans won't necessarily appreciate The Last Five Years either, it's pitched equally at Broadway lovers (it's based on a Broadway musical) and/or low-budget indie flick fans and even then, the two styles may not sit well together for you.

Neither of our leads have pleasantly bland pop voices either, both are classically trained vocal powerhouses-again, not everyone's cup of tea. The Last Five Years earns three stars, however, as it does what it wanted to do fairly well, it's all a question of personal taste.

Full disclosure: I didn't see the play the play before I saw this movie at the Toronto Film Festival. However, there were MANY fans of the play in the audience, and judging from the reaction and the questions and comments directed to director John LaGravenese and Jeremy Jordan (!!!) who came out after the film finished, they really enjoyed. I also looked up about the play and watched several videos of a few different versions of the play. Also for those who do really love the play and are unsure about how this movie is going to turn out, know 2 things in advance: 1) For the most part, Cathy and Jamie sing with the each other, and we are shown the opposite character's expressions and reactions. I think this was a good decision, and I think it worked out really well 2) LaGravenese stated that the movie is based (essentially copied from) the off-Broadway revival directed by writer James Robert Brown. So there are some changes from the previous off-Broadway production with Norbert Leo Butz and Sherie Rene Scott However, all in all, I really enjoyed this movie. Both Anna Kendrick and Jeremy Jordan are wonderful as Cathy and Jamie. Their story was easy to relate to and sympathetic. I also found the concept of the opposing timelines very interesting, and although it's a bit hard to explain to someone who doesn't know it, I never felt lost or confused with the timelines. I felt, however, with Cathy starting the movie with song "Still Hurting", it made me side with her slightly more than I did with Jamie. But I liked the majority of the songs, although there were a few that slowed the pace too much, like "Part of That". My favorite performance was "Goodbye Until Tomorrow/I Could Never Rescue You"- I particularly liked the staging of it. If you enjoy an intriguing story being told through song with an interesting concept,I highly recommend The Last Five Years.

Having seen an amazing production of this in Auckland (Last Tapes Theatre Company), this much more expensive, full blown movie fell flat for me. I think Jason Robert Brown's musical was ultimately misunderstood here.

The structure in the original is that they sing solo, him starting at the start, her at the end, they meet in the middle when they get married and share their only duet, and then spin off into solo again. Although "together", each is alone inside his/her own emotions, and although trying to connect, they constantly miss each other. Only when they are getting married and singing a duet are they really in sync. The movie muddled this by trying to have both him and her taking part in every song throughout. An acting challenge that failed :/ The best moments were when they were singing to no one in particular, for her it was "Jamie is over and Jamie is done" and for him "Hold on, the panic recedes". This was when the actors were finally allowed to perform the songs the way they were supposed to be performed.

Basically, I thing the focus of each song is supposed to be on the subjective experience. But the movie missed this point, and tried to make every song mimic a real life conversation. This failed, although you could see how hard both actors were trying. The chemistry was very forced. Singing a conversation is awkward enough, but the lyrics are so deep and vulnerable, no one would say those things aloud. It was especially awkward when they were sung at his friends in a bar or at reporters at a party. Those poor extras on the receiving end of the songs didn't know what to do with themselves. The songs are meant to be confidante confessions to the audience, coming from deep within the characters, obviously not casual conversation. In general, the misunderstanding of the unique genre and structure of the original transformed The Last Five Years into a cringey, low-level musical.

The original is actually more a song cycle, it has virtually no spoken dialogue, like an opera. And it creates the same height of emotion as opera does. Performed, even if the director lacks creativity to make it come alive believably, it should at least not distract us from the amazing poetry in the lyrics. But there was a lot of (really crappy) dialogue inserted, a lot of unnecessary shots of miscellaneous stuff that was really distracting during the singing.

Instead of an incredibly powerful set of insights into how relationships dissolve, this was just another Hollywoody movie about guy meets girl. And what's sad is now the majority will think that that's what The Last Five Years is. But it's actually so much more than that!

Having said that, no matter how badly adapted, I don't think The Last Five Years could ever suck, the score and text is just too amazing and this will shine through. And despite awkwardness, there were some really good moments from both him and her. I would recommend listening to the songs rather than watching this movie though, or better still, try and see it live.

Theater kids and Broadway buffs are going to toss their cookies over the movie adaptation of The Last Five Years.

The Last Five Years is the film adaptation of Jason Robert Brown's synonymously titled Chicago premiered and often revived off-Broadway musical.

I never saw the musical, so the movie adaptation The Last Five Years is my first encounter with the material. Cathy is a struggling actress and Jamie is an up-and-coming novelist. They fall in love but happily ever after is not meant to be. The musical looks at the love affair and marriage of Jamie and Cathy over the last five years. Cathy's songs begin at the end and dissolution of their marriage while Jamie's all start at the beginning of their whirlwind romance. The songs and differences in time are told as a narrative by alternating between the two until they meet in the middle. And just an FYI for those that are on the fence in their love of musicals – The Last Five Years is a story that is told almost entirely through song, so you might want to skip this one if you are swaying toward 'nay' in your appreciation.

It seems as though The Last Five Years respects the musical's material to the letter and takes no liberties through the art of adaptation, though I can't say for sure without seeing the actual stage production. Twenty minutes into the film and there have already been four songs and a constant stream of music in the background. As a story of a relationship that ultimately ends in failure, the weight is not evenly distributed between Jamie and Cathy, with Jamie having more priority – perhaps a reflection of the musical's creator Jason Robert Brown's own self-important egocentrism. The Last Five Years wa wants to be this intimate examination of a tempestuous relationship. The film version, however, only manages to superficially gloss over at best without thorough knowledge of the origin source, never pausing long enough to succeed.

As a musical, The Last Five Years is exactly what you would want – well written lyricisms and songs that have emotion and purpose in progressing the story. As a film though, the constant use of songs as snap shot vignettes of the relationships prevents the audience from connecting with the couple's relationship. Had a song or two been removed and a bit more dialogue was substituted then the adaptation would be more successful as a movie. It is right around "The Schmuel Song" at minute thirty-five that this need for editing is apparent.

The Last Five Years is bound to be a hit with the theater crowd and will forever live on their singing little hearts. However, The Last Five Years fails to have a broader reach to intrigue a greater audience.

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Part of my resolution to have a movie review blog was to watch movies I wouldn't otherwise see, and "The Last Five Years" is not a movie I would've seen in theaters but I might have picked it up on DVD or if it was Netflix. I'm not a hater of musicals in the least, and I'm not one of those who doesn't like books or musicals turned into movies, but this movie is one reason why those people exist and why it's easy to criticize the adaptation.

The movie tells the story of a young Jewish novelist and a struggling actress he falls in love with. The plot and characters have an obvious appeal to people in musical theater, something I've learned to expect in any modern musical similar to how novelists like to have their main characters be novelists or bookstore owners (or both). The annoying part of this movie is that it's all the movie is. If I had to sum up the movie it'd be two people in creative lines of work with varying success having passionate, almost over-the-top duets. And that's the entire movie. And it's all sung (which I'm not outright against since it worked so well in "Umbrellas of Cherbourg").

Jamie is the younger, more successful, more arrogant novelist in the relationship while Cathy seems to have more charm and personability though she can't seem to get a break in her career. Questions of resentment and female independence in her career (and the comments seem to be just token nods) arise for moments though it sinks back down in the quicksand of necking that the two characters seem to do way too much.

What's innovative about how the story is told, though (and I see this as one of two of the movie's redeeming aspects) is that the plot moves in two directions, one from the beginning with Cathy's memories of their marriage, and the other where Jamie's memories are told from the beginning. Something's to be said for how men and women remember relationships different, what they saw as the best moments and what they saw as the worst. The film does play favorites with Cathy, though which is no surprise given the history of plots in musical theater and their primary demographic.

The second strong part of this movie is Anna Kendrick's performance. I was dubious at first but she carries herself well and has more nuance in her character portrayal than her male co-lead. Her voice is good, not great, and her acting ability supplements her singing very well.

The main problem with this movie is tone. Yes, it's a rehashing of a romance from memory from two perspectives, but it is all singing, and all centered directly around romance depicted in a small set of actions between two actors. It's the false idea that anything worth telling about a relationship must be the romantic interactions, as if there wasn't anything else worth recalling about two people being in love. And by romantic interplay I mean talking through transitional points in the relationship, fights about expectations and communication, and physicality (which may seem broad but it doesn't come across as such in the movie). That's 99% of the movie and everything the characters do revolves around that strong theme. The problem is that it's too strong of a seasoning. It's where a spice becomes the meat and you miss the stable taste of flesh rather than a watery stock or sprinkling of flavor. It's like George Lucas yelling "faster and more intense" to his actors in the first Star Wars movie without any further direction. I imagine the director doing a similar thing with the two leads in this, "passionate and more in love" which inevitably will lead to an overbearing depiction of the same thing we've seen throughout the movie. This movie will appeal to viewers who already adore musicals but will not win over any new fans to the genre.