User reviews

Stop us if you've heard this one before. A writer with a huge hit under his belt stumbles headlong into obscurity, but unexpectedly gets his mojo back when he befriends - and falls in love with - a woman who jolts him out of his comfort zone. It's not just the plot of Music And Lyrics, a film made seven years ago, starring Hugh Grant and written and directed by Marc Lawrence. It's also the plot of The Rewrite, a movie made seven years later, starring Hugh Grant and written and directed by Marc Lawrence. This blatant recycling of plot, star and director should be quite enough to turn even the most undiscerning of audience members cynical and dismissive of the final result. And yet, The Rewrite surprises rather than annoys, revealing a newfound and very welcome maturity in both director and star.

Oscar-winning screenwriter Keith Michaels (Grant) is down in the dumps: he can't get a job in Hollywood anymore, and he's been estranged from his family for years. To stem - or perhaps as part of - his downward spiral, he reluctantly agrees to teach a screen writing course in a small, remote college town as far-removed from the excesses of Hollywood as it's possible to get. He promptly gets into trouble when he arrives, diving into an inappropriate sexual relationship with student Karen (Bella Heathcote) and offending stern Professor Mary Weldon (Allison Janney) with his vaguely sexist opinions. But, as the term progresses, he begins to find inspiration in his students, ranging from a Star Wars nut through to a writing prodigy, but most importantly, optimistic single mom Holly (Marisa Tomei).

On paper, it's a recipe for dire predictability. Arrogant, formerly famous writer brought to his knees and taught the value of humility, feminism and love. Of course Holly will win Keith over with her spirit and heart. Evidently he will find in teaching the meaning that has been lost in his life for far too long. Obviously it means that our protagonist will become - gasp! - a better man. As it turns out, it's pretty safe to make all of these assumptions: The Rewrite doesn't re-invent the romantic comedy, nor does it fling any huge surprises at the audience. Keith's rehabilitation is a foregone conclusion the moment he cruises into town.

But The Rewrite subverts expectations by being, well, really rather good. You might be able to see the big plot twists coming from a mile away, but Lawrence's script and characters are sharp and funny enough to provide plenty of tiny, pleasant surprises throughout the film. Keith's Hollywood arrogance and casual sexism are never excused or passed off as part of his roguish charm - instead, he's called out on them at every turn. The women he encounters, especially Karen and Holly, are also very far from being the disposable stereotypes that tend to populate rom-coms. The former isn't simply a brainless, sexual diversion, and the latter gets firmly into Keith's face and refuses to let him take the easy way out, as one suspects he's been doing for a very long time.

Even the supporting characters who typically waltz in and out of scenes for a hit-and-run gag or two are memorably drawn, aided by the fact that they're played by some of the best character actors in the business. J.K. Simmons is a hoot as Dr. Lerner, the English department head who gets all weepy at any mention of his wife and daughters; and Janney, marvellous as always, hits the perfect note of imperious disdain as an Austen enthusiast horrified as much by Keith's skirt-chasing as his belief that movie scripts can be considered great literature.

It's refreshing, too, to see Grant embrace his age and really exercise his acting muscles. He may be playing the older version of many a suave, shallow-but-not-really character he's played before, but there's a depth and sadness to Keith that feels real. Tomei is just as appealing as Holly - the character is a little underwritten (the fact that she's a single mom barely factors into the film, her daughters appearing for only one brief albeit charming dance sequence), but she doesn't feel that way in Tomei's hands. Grant and Tomei share a sweet, credible chemistry, if not exactly a combustible one, and this adds weight and colour to their unlikely on-screen relationship.

Given the nature and quality of Grant's earlier collaborations with Lawrence, most people probably aren't expecting The Rewrite to be anything more than a fun but forgettable rom-com, designed to entertain rather than to engage. And yes, as most people would imagine, the film doesn't reinvent the wheel and its plot is as predictable as it gets. But, as Keith realises during the semester, there's always time to look at things with a fresh eye - to give someone or something a second chance - and The Rewrite, imbued as it is with such welcome wit, heart and maturity, very much deserves that consideration.

OK-so it's rather predictable and gets off to a slow start, but I found this indie as it progressed, enhanced by an excellent cast, won me over with its' wit and humor. It reminded me somewhat of the movie "Liberal Arts", from filmmaker Josh Radnor, which I also like quited a lot.

Hugh Grant is in fine form here, portraying Keith Michaels. a once highly successful screenwriter, but whose career is now flagging badly. Out of desperation, he accepts a position, set up by his agent (Caroline Aaron), which will have him teach a screen writing course at Binghampton University, in upstate New York.

Grant plays the fast-talking and glib cynic as well as anyone, and when he arrives in Binghampton, he undergoes the culture shock of feeling he's in the "sticks", and firmly believes all teachers are "losers" and that writing can't be taught anyway. Of course over time, he will see he can really help and care about his students, and will learn some important lessons for himself as well.

He gets exceptional support here from such screen notables as Marisa Tomei, J.K. Simmons, Allison Janney, and Chris Elliott. All of the students add much to the movie as well, with Bella Heathcote leading the way and getting the most screen time.

Overall, this film, ably written and directed by Marc Lawrence, was a pleasant surprise, and I found it quite funny and enjoyable. Even the outtakes, as the credits are rolling, were very humorous.

Film of Choice in a Boeing 767 at 36,000 feet - The Rewrite. I wanted something light and predictable for a 7 hour transatlantic flight and had about 50 films to choose from, how times have changed. The rewrite stars Hugh Grant as a once bright young Oscar winning screen writer who hasn't written anything of note since. Divorced from his wife, alienated from his son and so broke his electric gets cut off, he is forced to take a teaching position in a small American town in the back of beyond. This is a typical Hugh Grant vehicle, and while there is nothing outstanding about this film, if you are a fan of his acting style and the way he bumbles through his film is the same fashion time and again, you are guaranteed to like this film. I find I can watch his films and enjoy them, and he is helped along here by Marisa Tomei who is a single Mum taking his class. Unlike its main character, this film is not an Oscar winner but is a fairly watchable effort.

Hugh Grant and Marissa Tomei. That actually should be enough. And most of the running time it is enough. At the highest points this get, it is really witty and funny and light entertainment. Nicely written then. But maybe some passages would've worked better with a re-write (yes I went there - pretty sure not the first and only one to do so of course).

Apart from the obvious pun and the already mentioned lead cast, we have a more than stellar surrounding cast. If you haven't seen Whiplash yet, do so. Though you might see the actor playing nice here with a completely different mind set. There are some extra bits at the end credits, with a really nice pun from one of the younger cast members. I also liked the fact that it didn't shy away from hot topics. Even if not entirely discussing them through (not always necessary)

Early this year, this reviewer went to see the 2013 film 'Love Is the Perfect Crime', a French-language film about a student-seducing literature professor, with plenty of bloody murder and mayhem. By contrast 'The Rewrite', from Castle Rock, is a gentle comedy set in the academic world of Binghamton, New York.

'The Rewrite' tells the story of a washed-up script-writer who is forced to take up a job teaching script-writing. The decent trailer for this film shows this, and the selection procedure for the class, which we quickly get to, and so gives you a good idea what to expect in the film. Hugh Grant plays the part of this writer-turned-teacher.

Hugh Grant has previously given us classic comedies, such as 'Four Weddings and a Funeral' (1994), 'Mickey Blue Eyes' and 'Notting Hill' both of 1999, and 'About a Boy' (2002). In 'AaB', Mr Grant played a one-hit-wonder pop-star trying to fill the rest of his life, so this role is somewhat similar.

In a recent interview Mr Grant described how his life had taken a dramatic change in recent years, which forced him into political activity, thus also forcing him into having a much lesser role in the movie business. With regard to 'The Rewrite', Mr Grant said that audience reaction now made him realize that his age prevented him from playing certain scenes, and one true-life scene had him looking back unable to capture his former glory.

Thus this film, 'The Rewrite', in reality, can be seen as a turning point, where the previously foppish young Hugh Grant, has now turned into the now mature Hugh Grant. This real-life journey for Mr Grant, is one that is also faced by his character in this film, thus does the art imitate real-life.

The realistic scenario for this film was written by Marc Lawrence, who previously wrote the classic 'Miss Congeniality' (2000). One cannot help wonder how autobiographical the one-hit-wonder script-writer plot is. Certainly all the Hollywood-related scenes have a truly authentic feel to them. Marc Lawrence, who directed, as well as wrote, this film, and actor Hugh Grant, have given us a vision of life that seems very believable.

What must be stated, is how good Mr Lawrence's script is. Nearly every line is clever and funny, though if you laugh-out-loud you may miss the next line. There are also some poignant moments in the film too, and these are expertly directed, and are expertly conveyed to us, sometimes just by using silence. Tremendous!

Director Marc Lawrence is Brooklyn-born, as is leading-lady Marisa Tomei. Miss Tomei did the lovely rom-coms 'My Cousin Vinny' (1992) and 'Only You' (1994). In more recent years, she did the more serious 'Before The Devil Knows You Are Dead' (2007) and 'The Wrestler' (2008). Miss Tomei turned down appearing in the 1994 film 'Four Weddings and a Funeral'. Here, at last, she plays opposite Hugh Grant.

Miss Tomei's character is an optimistic and pushy mature-student, with a very full life. However, unlike Jason Alexander's 'Seinfeld' character George Costanza, who admitted "I have a thing for Marisa Tomei" in 'Seinfeld' (Series 7, Episode 14), Hugh Grant's student-seducing character strangely seems unable to lift his eyes from the young bit-of-skirt to see Marisa Tomei. "What's not to like!" as George would say. NB Castle Rock made 'Seinfeld'.

The plot of 'The Rewrite' has our jaded LA-based script-writer relocating to small-town Binghamton. Thus, it is similar in theme to 'Groundhog Day' (1993), in which the jaded weather-man has to leave New York to meet Punxsutawney Phil, the groundhog, in "rural Pennsylvania". How appropriate it is then that this similar rom-com plot, again has Chris Elliott in a supporting role.

There is also good support from the supporting-cast who make up the motley-crew of the screen-writing class. Serious actor JK Simmons, who has appeared regularly in several of the Law & Order TV franchises, and who terrified us in the TV series 'Oz', here gets to do some touching comedy. Allison Janney too, gives strong support.

Australian-born Bella Heathcote has the biggest part in the writing-class, and she acts it well, but perhaps the more poignant scenes were with Andrew Keenan-Bolger, and particularly, Steven Kaplan, who was in the best scene in the film.

The clever and funny script teaches us a little about the English language, script-writing, and life in general. Suitable to those in education, and also those interested in film-making, as well as all others, this film is surprisingly realistic, and has a clever and funny script, as well as some thought-provoking moments.

What's not to like! 10/10.

PS. Jumping out of my seat at the start of the credits, this reviewer nearly missed some nice scenes that accompanied the credits, so do stay to catch them, as they are well worth seeing.

In a plot custom made for H. Grant, he stars as an award winning script writer who flounders in his career and personal life. Falling from grace after some unsuccessful projects and a divorce, he lands on teaching position in a college among cliche characters: an ex-marine dean, a stern English literature scholar with whom he's at odds, etc. As could be predicted even without seeing the movie, he immediately gets into trouble with a sour turning relationship with one of his students while flirting with Marisa Tomei, a single mom who juggles low paying jobs while dancing and also finding time and money for Grant's course all at the same time. M. Tomei balances Grant's depression and introversion with her radiance and exuberance. This is a typical H. Grant movie with the gravity of a soap bubble. In general, the cast and acting are good with details like classroom scenes being a bit fluffy and slapdash job. Compared to the similar work "Did you hear about Morgans?", Rewrite hands down is the improved one because there's no wasted effort for contrived comedy and M. Tomei is a better cast than S. J. Parker in a similar role.

Marc Lawrence has written another mediocre rom-com. This one has the added special sauce of overt sexism added to its dull, predictable script. Hugh Grant turns in another lifeless Hugh Grant performance. Allison Janney's comedic talents are wasted in the role of the stereotyped humorless, angry woman who teaches college level female-centric literature. J.K. Simmons makes the most of his supporting role. And Marisa Tomei is the only clear grown up in the room. Of course the male lead would be attracted to a smart, fun, caring, capable woman who challenges him to be better. The bigger question is why in the world would she ever be interested in Grant's sad sack, has-been, rude, condescending and patronizing leading man?

I think the ugh factor was telling from the beginning when the washed up writer takes a teaching job he doesn't want but a) instead of reading the students' writing samples he uses social media profiles to fill the class with hot girls and two not hot nerdy guys, and b) in a class filled with females of course it's one of the guys who the teacher chooses to promote to his agent and to sell a script. Because, you know......the girls aren't there for the writing. The film continued it's downward slide from there.

What a fun and charming movie. It's so good to see Hugh Grant in a film that utilizes both his comedic timing and that let's him ground himself in things a bit more serious. It would be easy to dismiss this film as formulaic (and I suppose it is to a certain extent, but what movie isn't these days?), but it does allow Grant's character to peel back some layers to reveal a man more complicated and not quite so lacking in depth as you might expect at first. Marisa Tomei is wonderful as Grant's student and confidant. It's so nice to see two talented actors of comparable age building a terrific camaraderie and rapport with each other and the dialogue. JT Simmons is terrifically funny with a nice supporting role as the dean. In fact, the whole supporting case is great. This is the movie that happens when you have a tremendous cast, taking a nice story, and making it believable and funny without some of the hackneyed tics that Hollywood always likes to tack on. Really worth your time.

After the slight dip in quality that was 'Did you hear about the Morgan?' it was nice to see Marc Lawrence and Hugh Grant re team for a fourth time on this film.

Of all four films they've made together I think that this one maybe the strongest. Yes, the plot is slightly similar to 'Music and Lyrics' and there is a lot of Hugh Grant doing what we have seen him do lots of times before, but what is great is that this film goes a step further and we actually get to see some depth to the characters and there is some real poignancy as well.

Whereas 'Morgans' felt like it very much rested on the heads of the leads this film is boosted by the fact you have the great Allison Janney, J.K Simmons and Chris Elliot all along for the ride.

Oddly this film didn't get much media attention upon its release and is rather a forgotten stable mate of the more successful 'Two Weeks Notice' and the previously mentioned 'Music and Lyrics'. I'd say though if you enjoyed those films this one is well worth hunting out.

I always enjoy the acting of Hugh Grant and without his charisma and witty comments this movie would have been a bore.

All through watching it I found the character of Marisa awkward and meaningless. Her romance with Hugh is shallow and uninteresting. I would think that the film should either focus on the "promiscuous" sides of Hugh with the students or solely on Marisa's line. Having both seem to be stretching too far and makes the plot underdeveloped.

This Hugh Grant vehicle is better than his last few rather painful vehicles (ie Did You Hear about the Morgans) because the role he is cast in suits him this time. A screenwriter unable to get anything produced goes to teach screen writing in upstate New York. He looks suitably down cast with the droopy mouth and crumpled face.

The situations are generally quite funny especially choosing the students. The dialog is often witty although Hugh speaks so fast you can miss some of the jokes. Good supporting cast playing college teachers: Alison Janney, JK Simmons. Marisa Tomei plays an older student in the class.

Worth one watch.

With its particularities in place, it does feel at times that "The Rewrite" might be willing to pull some punches, stand by some unexpected statements and push the envelope a little bit. But ultimately it changes its mind and goes down the route of rom-com-iness, which it executes well enough.

The story looks at a washed up Hollywood writer who seems at present to be far more capable of putting together a string of vices rather than a string of words. And this frustrated, disinterested, self-absorbed character gets the morality treatment, in a very blunt manner at times, balanced with spurs of wit and charm to make up for it.

Unfortunately, there's little beyond the stereotypes of the supporting cast, to make for a more interesting experience. It's funny to see Hugh Grant's mannerisms at work, which seem to suit his old(er) age quite well, although perhaps more on a caricaturist level. And Tomei resolves herself to be the happy-go-lucky type that has too little bite to help you get really involved emotionally.

What I did enjoy, was the particular pace the movie had, in no rush to get anywhere in particular and yet particularly abrupt once it got there. Like admitting to the audience that yeah, you know what's happening here. There's value in familiarity, when things fall into place reasonably well. And despite its shortcomings, The Rewrite does come together with a pinch of distinctiveness that makes it worth a lazy Sunday afternoon.

There was this line on the movie i think it goes like this " the character should lead the plot and not the other way around", i think this line was true and well perfected in the movie, maybe with a better lead other than "Hugh Grant" i mean imagine if it was "David Duchovny" !! i'm one of those who saw him on Californication and he was great on being a teacher :D anyway, the comedy was fine, distributed perfectly on the characters J.K. Simmons, Marisa Tomei even Chris Elliott as "Jim" had his share of comedy and his screen time was no more than 5 minutes ... so impressive . Also, Twisting the events during the movie was good .. somehow predictable but good, the ending was also good, i would'v add a little more comedy though, even the romance between the characters of "Keith Michaels" and "Mary Weldon" was obvious but still needed more screen time ,, yeah there was these looks and back talks and romantically arguments but still not satisfactory on the screen. overall the writing was good, directing also good and Casting could'v do better but was okay.

Keith Michaels (Hugh Grant) is a sharp-tongued Oscar-winning screenplay writer of the popular "Paradise Misplaced". That was 15 years ago and he has fewer options now. His agent gets him a job teaching a screen writing course at Binghamton University in upstate New York. He sleeps with college student Karen before even starting his class. Dr. Lerner (J.K. Simmons) is the department chairman and he's fighting with Jane Austen expert Professor Mary Weldon (Allison Janney). He doesn't believe in teaching writing, and picks mostly hot girls with a couple of nerdy guys for his class. He is hounded by single mom Holly Carpenter (Marisa Tomei) who really wants to be a writer.

Hugh Grant is having a bit of fun spreading his charm around whether it's wanted or not. He reunites with Marc Lawrence but the writing could be sharper. It is filled with quips from Grant but not all of it sticks. Tomei is lovely and I wish the movie concentrated on her more. In a rom-com, she needs to have more screen time. Also she is too nice and perfect. It doesn't lend itself for outrageous fun. She's kindly charming. The movie has a great cast and they keep the middling material chugging along.

It's a mildly amusing film (hence, 4 stars), but as the title of my brief review says, it's ironic that for a movie that is about how to write a movie it's such a predictable and weak story with one dimensional, paper-thin, characters, in which the end of the movie is signaled virtually from the beginning of the film. The writer should have watched the movie before writing the movie, and learned something about how to write a movie - but then it would be a time travel movie.

Stories about writers who are having difficulty putting pen to paper are a dime a dozen, but I found this one charming. Hugh Grant plays the fallow screenwriter who follows the adage, "Those who can't...teach." His life is a total failure on all fronts, but he manages to survive thanks to a droll wit and his refusal to lay down and die.

Marisa Tomei plays the object of his distracted attention with her usual aplomb. Without committing to anything, she becomes the rudder to his floundering ship, with insight and a tender recognition for his hidden value. But it is Grant who makes this film something special, imbuing every scene with an honesty that makes the story enjoyable. Here he is not so glib as he is dealing with the trials of every moment.

This is a sleeper I must recommend.