Dysfunctional, familial-tied relationship-comedy oriented in a kvetch-y, talk-y, argumentative Woody Allenish style.*************************** Miami Rhapsody. Dysfunctional, familial-tied relationship-comedy oriented in a kvetch-y, talk-y, argumentative Woody Allenish style. It, too, centers if not specifically, than obviously, on the very Allen-esque Jewish Sarah Jessica Parker, and the casting choice of Mia Farrow as her mother serves to reinforce the by-the-sound and by-the-name association. The biggest difference is that writer/director David Frankel has omitted the sputtering, stuttering flibbertigibbet—Allen—himself, and instead leaves it up to all the diverse and well-assembled cast to go about their own respects themselves. Of course Parker is the feminine youthification and embodiment of most Allen protagonists, but Frankel’s script is so much more terse and tight-ended than Allen’s own have been lately. Miami Rhapsody is also more charming and more buoyant, but doesn’t face nearly as many of the obstacles that would try to drown this. The story mostly rotates around Parker’s self-examination of her non-marriage committal to Gil Bellows as they watch marriages old and new crumble all around them—and mostly all within her family. The cast, like the scenery is bright and heedful, assembled not necessarily out of the biggest names, but certainly respectable ones, and clearly noticeable names at that. And, Miami proves to be a worthy change of destination than the constant of New York. It’s always a fun experience to find an unexpected surprise as funny as something like this.
With Paul Mazursky, Antonio Banderas, Kevin Pollock, Naomi Campbell, Barbara Garrick, Carla Gugino, Donal Logue, Jeremy Piven and Ben Stein.Final Verdict: B+.