Purple Violets

You have to know that a brokerage usually do not HIRE real estate agents but recruit them or to speak more correctly, to invite them to join the brokerage. They usually would recruit the licensed real estate agents who are reputably having lot of clients, the broker that recruit them only provide them with services, such as legal insurances against the possible lawsuits, seminars, printing machine, private offices for those agents who have the most business, or just provide an office space with phone extension, computer and Wi-Fi service. The broker would collect a certain percentage from every deal of the agents' commission. But what we saw in this movie is that the leading young woman was HIRED by a broker as an employee. The guy who harassed her was her Boss. What was even more ridiculous is that the boss let her handle a potential multi-million dollars client for years! Burns absolutely know jacks**t about the real estate business, so those related scenes simply became so ridiculous and very difficult to watch.

Another ridiculous thing Burns did was the writer/publisher/book selling/legal consul crap. It was of course so unreal too. By arranging two couple of love birds nested on these two false and laughable backbones was just so painful to watch on.

I'm not sure what the deal was with the reviewer before me. Apparently Ed Burns must've urinate in his corn flakes the morning he wrote the review, because it is scathing and hardly true to the content of the film. Overall the movie plays similar to other Ed Burns films. The music selection is pretty good, and most of the storyline is contingent on the dialogue and character relationships. The lead roles were solid all around. Patrick Wilson, played his character effectively and simply, as necessary. Burns roll was reduced but still charming. Selma Blair was also convincing. The notion of Debra Messing looking like a man in drag is pretty far fetched. She looked great in the film, and her part was small but well played.

Referring to Edward Burns as being a women is way off course. The previous reviewer apparently came off of a 10 day Michael Bay film binge when he wrote his review, so obviously he would have no comprehension on what makes a film succeed. This movie has authentic dialogue with believable character dynamics, which is as much as you can ask for in any movie. As I mentioned before, if you like Edward Burns as an actor, director, or both, you will get enjoyment from this movie. If you are a JJ Abrams nut, can't understand how emotion and dialogue are used in a film, and are afraid to even fathom the notion of romance in the film, then you may not like this movie. You could always look up the previous reviewer and check out a Larry the Cable Guy film with him.

There are some purple-people heartstring beaters which are entangled in New York romantic dilemmas that provide the film "Purple Violets" a proper cinematic blossom. The movie is the latest Writer-Director Edward Burns offering. Steady Eddie continues his streak as a master of developing relational narratives on the eccentricities of personal relationships between New Yorkans. The differential quality of "Purple Violets" contrary to most of Burns' past movies is that the central character here is a female. Selma Blair stars as Patti, a real estate agent who is in a quiescent entrapped marriage with an egoistic restaurateur. Patti is also a former author who craves returning to the literary form but lacks the inspiration. That is until she reunites with Brian Callahan, an old flame who also happens to be an acclaimed sleuth mystery writer. Brian's writing song these days is to formulate scribes on other relational themes that strike a writing chord with him. But unfortunately not for his fan base who crave for his detective novels; the book store signing scenes were a comedic delight. Michael "Murph" Murphy is Brian's BFF who morphs his life from an arrogant alcoholic college student to an arrogant non-alcoholic successful lawyer. Murph dated Patti's best friend Kate in college, but cheated her out of a potential nuptial if you get my adulterous drift. However, Murph now wants his Kate back and eat her too. Kate is a strident schoolteacher who does everything in her power to resist the Murphaleous charm. Patrick Wilson had the write stuff as the garrulous Brian and Edward Burns was a scene-stealer as the carefree Murph. And I am not going to even mess with Debra Messing's strong brassy performance as Kate. But the premier acting of "Purple Violets" came in the shape of Selma Blair's delicate but empowering stand-pat work as Patti. "Purple Violets" also had some fine supporting acting tulips as well from Dennis Farina as Patti's preaching boss Gilmore and Donal Logue as her overbearing husband Chazz. But at the end of the day what made these "Purple Violets" grow in out hearts was Burns' ingenious scribe and direction. His artistic message of creating movies for self-enrichment and acting in others for audience satisfaction is delivered wisely in the film. Do not violate your movie pleasure by not nourishing the "Purple Violets". Feed them now with your viewing! ***** Excellent

The truth is the movie has a mediocre plot, which means the movie could turn out either way, good or bad, and it all depends on the execution by the actors and directing. Personally, I am okay with the directing. It's somewhat realistic. However, I am really bored by the acting by the 2 leads. The supposed leads Blair and Wilson have almost zero chemistry, almost devoid of any honesty and feelings in their interactions. I am annoyed by the obvious 'acting" by Wilson, and the lack of energy and presence from both. It's totally unpersuasive that Blair's character could be a "talented, passionate and honest" writer. Neither the script nor the acting could convince us either way. What's really funny was the scene where Logue broke up with Blair. She was hardly really upset, but then the dialogue made it sound like she should have.

There are three really awesome actors in this movie, who saved the movie by keeping the audience from walking away midway. And that's Messing, Burns and Logue. Messing and Burns should have been the leads. They simply steal the show, especially Messing. The thing is she has presence, and lots of authenticity to her acting, that convinces you that she is the character, even though the plot makes her out to be an unlikely grumpy woman. Donal Logue did a fantastic job to show himself a talented actor in this movie, where he was cast a character much different than he was type-casted into before. Even his body language and postures adapted to a younger and more sophisticated New York resident with a foreign background. For a second there, I though this was a younger foreign actor. But the confidence and presence drew me to notice it was indeed Logue! Great job.

Yes, I must agree. There's a degree of trying too hard to be woody Allen in this movie, but lacked all the essence of acting. All I got to say is that if they redo this movie, and make Messing and Burns the lead, they may make triple the box office. Not for the names, but for the acting.

Old college friends meet a dozen years after college, amidst relationship breakups and artistic crises. Some, like Edward Burns, and successful agents and recovering drunks, anxious to get back with old lovers. Some, like Selma Blair, had early critical success and went nowhere, except into a marriage that has now grown stale. And some, like Patrick Wilson, have had great commercial success, but his relationship is breaking up even as his serious novel gets awful reviews, and even his ardent fans are uninterested.

Writer/Director Edward Burns' movie is about midlife crisis, even though his characters are in their early 30s. And as they wander from fabulous restaurants in fashionable districts of the city to amazing architectural palaces on the water out in the Hamptons, all of them suffering internal crises -- except for Burns, who never reads his clients' books and is making a lot of money -- leave me very bored. I'm not saying they aren't suffering. I'm saying it's a form of suffering that doesn't really touch a mass audience with real problems, like incurable addiction, death, and lack of money. We never see the brilliance, we just see the appearance of having been brilliance and prospered thereby. In our age of idiot influencers, it's not particularly convincing, nor sympathetic.

Beautiful camerawork of gorgeous landscapes and performers by William Rexer helps.