SnoopyStyle Ron Rocket (Tom Arnold) has a stroke during his weekly golf game. His son Christopher Rocket (Jimmy Fallon) is estranged and living in NYC with his girlfriend Anne (Lucy Liu). He goes home to Arcade, Florida where they have the big house in the small town. He reconnects with womanizing friend Nickie Apple (Tony Hale) and old crush Kim Temple (Jordana Spiro). In flashbacks, his flighty mother Jane (Sharon Stone) asks Ron to make that "The Year of Getting to Know Us". Christine Jacobson (Illeana Douglas) is their neighbor.Jimmy Fallon is trying dramatic acting. It's limited. The directions are also limited. The writing needs some interest. Hale is interesting but in general, the modern time is a drag. The flashbacks could be a compelling coming-of-age story for the young Chris. I rather cut out the entire present day story and do only the past. I suggest this fully understanding that Tom Arnold is a big part of that part of the story. He would probably be better in dramatic acting than Jimmy Fallon.

napierslogs Christopher Rocket (Jimmy Fallon) returns home after news that his father is dying. Home is Florida, where he was raised by his emotionally-abusing, distant and womanizing father (Tom Arnold) and his soon-to-be-hippie and emotionally-abused mother (Sharon Stone). Home is not where the heart is.We have many flashbacks of the out-of-whack dynamics of Chris's childhood. Most of which weren't need, primarily because these are good actors, so we only needed a scene or two to see that Chris never got the love and support that he should have.Chris as an adult is an emotionally-distant and cynical young man. His beautiful girlfriend Anne (Lucy Liu), beautiful on the inside and out, thinks he can grow up, accept his parents and then enter into a mature and committed relationship with her if he has a heart-to-heart with his father in the hospital. You know, the father who's in a coma and the one who has never said a meaningful word to his son in his entire life - oh, how naive some supporting characters can be. The almost brilliantly funny scene of Chris attempting a conversation with his father in the hospital only landed him in jail. Maturity will have to come later.This is Jimmy Fallon playing a very sullen man in a drama-comedy that is mostly drama. Almost completely drama with a lot of slow scenes building up to emotionally-abusive results which we already knew from previous slow scenes building up to emotionally-abusive results. These struggles with maturity have been seen before, either in other dysfunctional family dramedies or in the first few scenes or trailer of this film since they didn't have too much more to add, but "The Year of Getting to Know Us" is a pretty good film, well acted and with solid characters.

hesapfeiffer Some years ago I picked up a copy of a literary magazine and found a story by Ethan Canin. It was excellent. As time went by I read two collections of his short stories and novellas and one novel. They ranged from good to great.Two movies were made of his short stories. Both were good, and faithful to the stories so I was looking forward to seeing The Year Of Getting to Know Us. What a disappointment. I read both stories again upon which the movie was based, and wondered if either the director or the actors had read them.I realize a director can't always capture the story as written in a play or movie but - The story occurred in California not Florida. There's nothing to indicate in either short story that the mother was a flake. There's no indication the father was a car salesman, only that he was successful in business. The father had multiple affairs not multiple marriages. The woman the father was having sex with in his convertible, wasn't the neighbors wife. The son was married to his significant other. The woman wasn't just his girlfriend. He was an English teacher, not a writer. His wife was a journalist not a lawyer. They lived in Boston not New York. There's a comic element to the father in the movie, not in the story. The emphasis in the story is the relationship of the son to his father, the relationship between the son and his wife is minor, and so on.The next time this director makes a movie, I hope he writes his own story or picks a second class author. I hate it when directors mess up perfectly good literature.

yamcofarms I saw the world premiere of this film at Sundance and it is seriously one of the five worst films I have seen in my lifetime. During the Q&A (in which the director and entire cast were present), no one in the audience had anything worth saying because the film was so awful. It was a pretty awkward moment.Considering all of the 10s this film has received, it seems to me that people connected with the film are clearly the ones giving it a rating without considering the quality of the final product. If you honestly think this is a good film, you have no taste when it comes to film-making.Jimmy Fallon is painfully one dimensional. Lucy Liu is good, but her role has no meat-- it's sad that these are the only parts she is given. Tom Arnold is not an actor and never has been. Sharon Stone is caricaturish. Illeana Douglas and Tony Hale give the best performances, but in minor roles. What most people don't know about this film is that the director cuts back and forth between the present and the past at least twenty times-- an overused technique that not even the most mundane film students resort to these days. This forces Arnold and Stone, who play Fallon's parents, to carry a major portion of the film in the flashbacks.There is rarely a truthful moment in the film. The script is contrived. The cliché ending can be seen in any below-average Hollywood romantic comedy. I hope this director grows in maturity before he writes or directs another film. He had the budget and resources at his fingertips, but blew his opportunity because he wasn't properly equipped.Which Sundance programmer allowed this film to be shown? They should be ashamed of themselves. The work speaks for itself and it clearly falls short. I'd hate to think that the programmer was being wooed by the producer's rep or other people behind the film without considering the ramifications of screening something of this quality at Sundance. Is this what Redford's vision has come to?