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Why is Lalor hated by her family, why was she ejected by the advertising agency she started, why does literally everyone she meets want to kill her?The answers to all these questions will likely give OCD sufferers reason to get off their meds while giving babyboomers license to continue being s***ty people.
With over fifty years of experience playing acid-dipped battle-axes, Mac Laine easily transcends the film's paltry story and annoyingly analog aesthetics.
She plays, of course a mortality aware loner who decides she wants to change her life with the help of a permanently brought-aback obituary writer (Seyfried) and later on, a sassy little black girl (Lee Dixon) whose tokenism would be offensive if it wasn't so carelessly stilted.
Within the course of a month, Harriet Lalor (Mac Laine) decides to reconstruct her legacy in the following order of importance: touch someone's life unexpectedly, find that certain something extra, be respected by her community and be beloved by friends and family.
What saves The Last Word from ultimately being beyond redemption is the very clear inference that the movie is a fantasy.
It's a very treacly fantasy and one that would needle audiences outside its demographic into a permanent eye-twitch.
She does so well playing the quintessential shrew that every other one-note character fades into the background like a white wall against a bright tapestry.
Of course, if sassy repartee alone was enough to elevate a bomb I'd be working for a publication by now.
Big Love received widespread critical acclaim, and earned several major awards and nominations throughout its run.
The third season was nominated for the Primetime Emmy Award for Outstanding Drama Series, and the first three were nominated for the Golden Globe Award for Best Television Series - Drama. Olsen and Will Scheffer, who also served as executive producers.
Harriet (Shirley Mac Laine) is a successful, retired businesswoman who wants to control everything around her until the bitter end.
To make sure her life story is told her way, she pays off her local newspaper to have her obituary written in advance under her watchful eye.
Literally everything else in this film suffers from clumsily sets up reveals and embarrassingly artificial sentiment.