bobsgrock Lymelife begins exactly the way its creators want it to. It has a confusing, off-kilter feel to the opening scenes, forcing its various plot points onto the audience in order to, they hope, root you in the story and its characters. However, when it's handled with such dizzying force and the tone rolls around like a pinball, the audience can only respond with bewilderment and indifference.Brother writers Derick and Steven Martini based the screenplay loosely on their own lives growing up on Long Island in the late 1970s. It always amuses me when writers and directors attempt to exploit personal experience as a catalyst for exploring supposed universal themes and ideas. Why use their own lives at all if so loosely? Certainly the outcome of this film did not happen to them, meaning what was the point of starting with a pseudo-real outline if they were just going to divert from it so quickly? At the same time, why is this story set in the late '70s? There are a few cultural references such as US troops being sent to the Falklands and a brief reminder of the Iran hostage crisis, but otherwise the setting is completely arbitrary. If anything, this points to the Martini's attempting to emulate The Ice Storm too much. They strain to give their story emotional content through the setting rather than the characters. As a result, both remain lifeless and inert.Much of the cast seems willing to go the extra mile necessary to breathe life into this story, yet director Derick seems to hold them back at the most critical moments. At this point in his career, Alec Baldwin has seemingly perfected the chiseled-handsome, narcissistic too confident in his accomplishments to see the reality of his actions. Yet, in at least two scenes where he is ready to pounce on the material and tear it wide open, Martini cuts away, as if to leave us hanging deliberately and ponder what might have been. This also causes Baldwin's performance (and others) to come across as stilted. He may be chiseled but his emotions are often trapped in that stony exterior, requiring a little excavation. Jill Hennessy floats but is still swept away by Baldwin in their scenes, while brothers Rory and Kieran Culkin show the best chemistry; effortless, smooth and very natural. Emma Roberts seems to have a breakout role on tap here, but again the director pulls away at times when she could have really let go on her character. Still, her alabaster skin and wide doe eyes are nearly irresistible, proving yet still that she is an actress to watch for in the future.What will bother most is the ending, which is always problematic for these dysfunctional suburbia movies. After all this angst, guilt and turmoil, how does one leave the audience with something memorable and finalizing? Unfortunately, in this case the result is quite cowardly and feeble. If it is supposed to leave us hanging in the balance it does but not for the right reasons. Instead of wondering how or why, we don't wonder at all.

kellystacey1980 Scott is your average dork. He adores Star Wars. He also gets picked on a lot at school — something his older brother, Jimmy (played by Rory's real life older brother, Kieran) took care of before he went into the Army. His father, Mickey (Alec Baldwin, who co-produced), has big dreams of cashing in on the great American Suburbia boom — so much so, that he has all but alienated Scott's mother, Brenda (Jill Hennessey). This has taken Brenda's motherly paranoia up a notch, to the point where she seals Scott's pant legs and sleeves up with duct tape so he won't contract Lyme Disease. As if that wasn't bad enough, the Bragg's daughter, Adrianna (Emma Roberts), has found herself at that odd period in life where she is starting her transformation into womanhood — a transformation that has engulfed Scott's interest completely. Further complications arise as Charlie's illness worsens, and Mickey and Melissa's work relationship takes a downward spiral. Yes, it's a turbulent world — especially for poor Scott, who's having a hard enough time trying to find his place to begin with. In short, Lymelife delivers. The movie has a very honest and frank feel to it, taking you back to those awkward years of your own youth. The cast (even the younger ones) turn in some fine performances, and writer/director Martini assembles the whole piece magnificently.

sara-monk Caught this on the BBC Friday night and got stuck immediately. Couldn't stop watching it. Great performance from Alec Baldwin and Mckulin (Home Alone's Brother)about turning of age angst and homegrown problems with parents. Soundtrack is great and I was the protagonist's age in the 70's...even bothered to watch the credits with Scorcese as producer. A quiet, sweet movie with loads of metaphors, especially the visual cross- carrying Baldwin does at the end with the flick of a white tie (like the flick of a deer's tail) at the end. Beautiful. Since I need to write more: I loved the miniature models to show suburbanite living in Long Island and how the film was edited in minute sequences which could have been freeze-framed and each interesting in their own right. Again a beautiful movie.

Gordon-11 This film is about a troubled suburban family. The couple's marriage is disintegrating, and the two sons use different ways to cope with what they experience."Lymelife" has interesting characters. I think Timothy Hutton gives the best performance in this film. Even though his role consists of only a few speaking parts, he is very memorable as a depressed man filled with anger and wrath. The interaction between Emma Roberts and Rory Culkin is also very good. The way their relationship blossom is satisfying and engaging. In addition, Kieran Culkin's speech to his brother outside the pub serves as an emotional high point in the film. The only slight complaint I have is the slow pacing, otherwise it is a moderately engaging look at a troubled suburban family.