UN-BECOMING AGE Add To My Top 10

Content -1
Quality
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Language        
Violence        
Sex        
Nudity        

Release Date: January 01, 1970

Starring: Diane Salinger, John Calvin, Colleen Camp, George Clooney, & Wallace Shawn

Genre: Comedy

Audience:

Rating: Not rated by MPAA though
should be PG-13

Runtime: 105 minutes

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Content:

(L, NN, B, A/D, NA) Portrayal of positive values such as fidelity & family priorities obscured by abysmal writing, acting & directing, as well as one obscenity, one mild profanity, very brief upper female nudity, and some magical thinking.

Summary:

UN-BECOMING AGE is a hopelessly inept comedy about a woman who turns 40 and then decides she "doesn't want to know how old she is." With the help of some "Magic Bubbles" (no kidding), she turns into a cavorting air-head who changes lives right and left with greeting-card insights about "being fully alive." Despite some decent values portrayed here and there, everything about this production is supremely and relentlessly awful.

Review:

In UN-BECOMING AGE, Julia Cole sits bored and depressed at her 40th birthday party, enduring the inevitable "over the hill" cards and gifts. Her friends are insufferable, her children are irritating and her husband Charles is a whining workaholic. In a moment of despair, she discovers a bottle of "Magic Bubbles." As the spell takes hold, she cavorts around the room, makes funny faces, tries to seduce her husband, changes her hairstyle, and buys offbeat clothes. She also talks about "feeling alive" and "really seeing things for the first time" and other greeting-card insights. Her husband finds all of this annoying, which in fact it is. Eventually, he comes around, realizing that his work shouldn't take priority over his wife and kids. He even finds the Magic Bubbles and turns into a "wild and crazy guy" himself. The film ends with the entire family dancing happily around the bedroom.

UN-BECOMING AGE actually promotes a couple of decent values. However, positive messages can't accomplish anything when they're presented so poorly. This is no less than the most relentlessly inept film in recent memory. Produced and directed by husband and wife team Alfredo and Deborah Taper Ringel, this is a movie in which NOTHING works. Acting, writing, timing, music, and editing are uniformly, persistently and excruciatingly awful.

In Brief: