Fantastic!

Admirable film.

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

A story that's too fascinating to pass by...

Quinn (Simon Helberg, writer, director) is almost dysfunctional from his phobias and not as funny as Bill Murray in "What About Bob?" He wants to propose to Devon (Melanie Lynskey) a college professor and girlfriend of 10 years. They go back to High School. However, whenever the moment is upon them, she must leave. Quinn works in a flower shop and confides his plan to Kelsy (Maggie Grace) his hot long time friend. At this point she informs Quinn of her love for him and desire to do the nasty. This sets off a downward and ruinous spiral as Quinn attempts to win back the love of his pathetic life, not knowing when to speak or when to shut up.Quinn, our protagonist was basically unlikable. He is a man with flaws on top of his flaws. It is as if someone explained to Simon Helberg what a Woody Allen movie was like and he attempted to create one without ever seeing one and on half the intellect. This is a different type of romantic comedy that doesn't feel like a romantic comedy but more like a tragedy. It will certainly attract some die hard indie fans, but I am not one of them.Guide: F-bomb, sex, no nudity.

To my surprise, I actually feel relatively positive about this film. ANd, it has helped me change my mind about Simon Helberg. When Helberg first came to my attention in "The Bag Bang Theory", his character was pretty much a perv, and that was a turn-off for me. Then over the first few seasons they modified the character to be much more likable. But seeing him here, in a film he wrote and starred in, I'm rather impressed.Now that's not to say this is a "great" movie. But it's quite good. And clearly Helberg is a multi-talented man. And, here we literally get to see him in his big boy pants! ;-) Helberg comes across well as a sort of hypochondriac character with low esteem. I wasn't thrilled by Melanie Lynskey as his eventual fiancé, and I couldn't decide if I disliked her acting, or if it was just that I though Helber's character deserved better in a fiancé. I'm not quite clear why Alfred Molina, Judith Light, and Fritz Weaver accepted roles here...their screen time is absolutely minimal, and they are each very good actors.It's not great. It's nothing special. But I found it interesting. And I'm guessing we'll see lots more of Helberg...although he doesn't have the body to be a great film star. It will be an interesting career.

The story is about an immature boy (Quinn) who lives in an awkward child-mother relationship (Devon). Although this situation is unhealthy for both of them, keeping stuck into this seems comfortable for them.When Quinn is sexually attracted by some girlie (Kelsey) who is surely unfitting for him as well and would doubtlessly take advantage of him as soon as she is able to, he seems to question his platonic relationship with Devon.However, this (to some degree) healthy development brings up guilt and fear so he regresses to a boy who seeks forgiveness by his mother in place (Devon) who basically turns away from him.After some back and forth between Devon, Kelsey and some others Devon moves to Paris to her grandparents where she meets some french guy (Guillaume).Afterwards we see some more boyish behavior from Quinn who tries to win Devon back which is to some part successful, however, there is then some tumult where everything gets very awkward and clumsy and it seems Devon is lost for Quinn.Out of the blue Devon travels back to the US where she tells Quinn that she came back for him - perhaps she misses her mother feelings? So he proposes to her and right after that Quinn regresses again and seeks for forgiveness for sleeping with another woman.After some back and forth (again!) Devon forgives him and takes him as his man-child.Wow - I can only hope that the "true story" behind this cinematographic awkwardness is based on very loose events.But what I wonder is: What is Hollywood trying to tell us with this film? I mean, many other pictures tells us about the so-called development to a man, where the relationship or some girl makes someone a man which enables so-called real love. Although this is also a silly cliché, to some degree it makes some sense to me: At least the "man" is the hero and the new hero will try everything to fulfill his girls dreams. Of course, he is still his mother's child, however, this dynamic is socially accepted and widely believed to be the ideal of any relationship.But this film seems to transport the awkward ideal of marrying his mother and I wonder whoever would like this?

Simon Helberg wrote and co-directed this tale of a shlamazel with self esteem issues, a touch of OCD and a healthy dose of hypochondria. One suspects if Woody Allen had made this film it would have had better fleshed out supporting characters and the long term live-in girlfriend could have still worked if a better actress had been cast. As it is Melanie Lynksey's Devon is played with a constant scowl and annoyed unpleasant disconnected manner more befitting of a drama than a slapstick comedy. Kelsey the rebound prospect as played by Maggie Grace is brilliant and perfect for this genre, being the mad fly in the ointment of Quinn's plans. Sadly her contribution along with those of others including Quinn's father are poorly connected to Quinn's central character. The only other person who's role in the film was properly thought out is the best mate who's always there for support and advice. It's clear the rest of the script wasn't properly thought out or bound up before filming, which damages an otherwise great idea.We'll never have Paris aspires to be Manhattan and misses the mark by just enough to make it a bit of a drag in between gags. The saving graces of the film are Helberg's consummate Jewish man/boy and the brilliant soundtrack of French songs that given the fact most people won't understand them, serves well to give the film a light atmosphere in the same way jazz was used to great effect by another neurotic writer director.If you're going to make a film like this, make sure the hero ends up with the girl who is at least a bit sympathetic. By the end of the film Quinn has clearly succumbed to his fears and wears down the woman who is more mother than lover. Perhaps there is an element of reality in as much as Devon is well into married life without the benefit of having ever been asked. If you're intent on making her the prize at the end, her role needed to be written/acted with more effort than the sleepwalk we were treated to.We'll never have Paris could have been so much better and is proof that comedy without timing and empathy is only ever painful at best. You wish there was a reset button because it's almost there but for better casting and some fine tuning. I look forward to seeing Simon Helberg's next effort as I'm sure it has to be better than this.