Hello I Must Be Going

Todd Louiso's "Hello I Must Be Going" stars Melanie Lynskey as Amy, a young woman who moves in with her wealthy parents after a bitter divorce. During "Going's" first act, Louiso indulges in light satire. Amy's wealthy parents are mocked for being vapid, a more liberal family are mocked for being airheads and a son fakes being gay in order to flatter his progressive, ultra-tolerant parents. The film then turns into a little Girl Power screed. Here Amy learns to sympathise with her mother, who's been neglected by Amy's oft absent father. Amy also has an affair with a nineteen year old guy (Christopher Abbott), and kicks away her ex-husband, an adulterous man whom Amy delights in milking for a divorce settlement. At first glance the film thus seems to be indulging in a little reverse-sexism, but Louiso has other intentions. Amy's dad is ultimately a nice guy and Abbott's character ultimately teaches Amy to love herself. Ever since "The Graduate" (1967) and "Harold and Maude" (1971), the older woman-younger man paradigm has been fairly mainstream. "Hello I Must Be Going", though, seems to offer the reverse of the countless indie films released annually in which a young, pixie faced woman exists only to "heal" the wounds of a depressed older man. And so here Amy self-identifies as a loser, incapable of being loved, an "ailment" which an incredulous fling promptly cures; nothing like being adored by a teenager, apparently, to kick-start your libido. 6/10 – Worth one viewing.

(2012) Hello, I Must Be Going DRAMA Not bad movie, but was only credible up until a certain point, which was until the female main star who's middle age, begin to have one of many affairs with a 19 year old young man. The movie stars, Amy (Melanie Lynskey) who still can't get over a recent divorce from her husband of many years. And she shows this by staying with her parents house without taking a single step outside- similar to how a hermit would live. While hanging around there, her mother (Blyth Danner) then informs her, that as a result her husband trying to get some clients, both of them can go on to their pre-planned world wide vacation, except that they're expected to have dinner with the main boss. Upon bringing his own family to this dinner also includes his 19 year old actor son, Jeremy (Christopher Abbott). It's like Jeremy doesn't seem to have any other friends neither from high school or from college, no mentioning of any goals, including the fact that it would take an affair with a 19 year old to help a middle age woman identify herself is something one can see from a soap opera. Except that it's more credible on a soap opera than it would be for a two hour movie as it would require a time spawn of several months if not years for anything like that to happen in real life.

This movie is an important piece about a woman's delayed awakening. Surrounded by a dysfunctional family and a traumatic divorce, she is able to find strength through unconditional love. Although different in many ways, this movie reminded me of 'you can count on me' - if you enjoyed that film, you will likely enjoy this one. It is more light-hearted, but just as real and complex. I think it is an important movie. I would strongly recommend this movie to anyone who enjoys independent films touching on the subject of complex family relationships or personal growth. The script is very well written, the acting is superb, and the movie rings true to life in the setting depicted. I found it completely believable and an accurate depiction of a real life scenario.

A story that's been done to death a million times, but could have worked with better and more original writing and dialogue. Melanie was captivating and adorable as always, but the writing in this script gave her no room to bloom to her full potential. Mainly it was just predictable, generic drivel with some decent cinematography once the action moved to the city streets and not in homes. The scenes with, well practically everyone, were almost clumsy beyond bearing. The scenarios just rang hollow and false throughout. But enen with all that it still could have managed to be enjoyable, but the character of Blythe Danner was so incredibly overplayed and annoying it bordered on detestable. She's never a subtle actress or even a very good one, but in this role her appearances just disrupt any flow or continuity the movie otherwise might've had. I'm not saying there's no humorous or poignant moments here, but it's just too full of cliches and ham fisted acting performances by the supporting cast that overall I found it ridiculous. People just do not behave this way.