Diagonaldi Very well executed

BootDigest Such a frustrating disappointment

Exoticalot People are voting emotionally.

SincereFinest disgusting, overrated, pointless

cnycitylady Postcards from the Edge is a painfully compelling story about a young and talented actress overshadowed by her older and wildly famous actress mother.This movie, based on Carrie Fisher's novel of the same name, expertly explores the relationship of the parent/child who work in the same industry. You can see how competitive they get and how proud of one another they are. You can't help but compare their vices--one likes hard liquor and the other likes hard drugs--and how they go about denying that they have them. Streep and MacLaine play off of each other masterfully and really understand the relationship between the two characters. Maclaine steals the show with her subtle nuances that remind the viewer of who she is not-so-secretly-secretly channeling (For those of you who don't know, the story is based on Fisher's relationship with her mother Debbie Reynolds) though Streep hits her stride as the rain clouded daughter who refuses to be outshone.The harrowing heart of the story is enough to keep you engrossed for days, but you'll have to settle for the meager 100 minutes they give you. (Trust me, it flies by) Carrie Fisher proves that she has real artistic talent as she (Also wrote the screenplay) demonstrates most profoundly that she can capture the human heart and all of its trappings.Although the tale is one of a tumultuous and troubled relationship between the two stars, you will not fail to see the unconditional love that shines through right to the very end. 8.5/10

Blake Peterson Meryl Streep can be the villain, the hero, the sister, the daughter, the mother, the spirit, the icon. In Postcards from the Edge, however, she is a flat out mess. Streep portrays Suzanne Vale, a successful actress who is about to hit the post-I Know Who Killed Me Lindsay Lohan stage of her career. She relies on cocaine just to get through the day. She partakes in casual affairs she doesn't the next day. She is like a robot, barely able to function in her daily job. She doesn't want to hurt anybody, but her habits are about to.Suzanne is finally given a wake-up call when she accidentally overdoses on a deadly mix of narcotics. After getting her stomach pumped, she ends up in rehab, struggling to piece her life back together. But her shaky mind begins to rattle even more when her mother, Doris Mann (Shirley MacLaine), arrives on the scene. Doris is not just Suzanne's mother; she is a celebrated legend, a symbol of the '50s/'60s era of Hollywood musicals.Doris means well, but she's possibly too self-centered for her own good. When she throws Suzanne a "welcome-home" party, she opens the front door, mugs for the varying cameras, and, with dramatic emphasis, declares, "My baby is home!" When the party is hitting its last legs, she pressures Suzanne to sing in front of everybody. Yet, the second her daughter finishes, she pulls one of those don't-make-me-sing (wink!) acts and one- ups her without even realizing that it may be just a little bitchy.The rehab clinic advises that Suzanne live with Doris in order to have someone constantly watching her, but that probably isn't a good idea. Whether she'd like to it it or not, Doris is an addict herself, popping champagne in the early hours of the morning or mixing in an absurd amount of vodka into her fruit smoothies. Within the important first months of Suzanne's recovery, the mother/daughter dynamic is challenged after years of repressed emotions and unexpressed opinions.Postcards from the Edge originally began as an autobiographical novel by Princess Leia herself, the self-deprecating Carrie Fisher. As a film (which was also penned by Fisher), it contains a darkly funny sting. Deeply rooted in time-to-get-my-life-together reality and over-the-top, Norma Desmond-like expression, it's a comedy that is solidly entertaining but also bitterly true. One can only wonder how much of the film is lifted directly from the lives of Fisher and her famous mother, the inimitable Debbie Reynolds.Mike Nichols has made movies that range from profoundly moving to breezily humorous, and Postcards from the Edge lands somewhere in the middle. It isn't as vigorously thought-provoking as many of his other undertakings, but it captures the mindset that, no matter how terrible life is, you can always find the laughter in it. Surely, Doris' diva attitude is sickening to the long-suffering Suzanne, but we see the events through Nichols' eyes. We're laughing, uncomfortably of course, but there's also unrelenting sympathy for both Suzanne and Doris. Suzanne has never lived a day without stooping under Doris' grand shadow, and Doris has never been able to meet the expectations of her ever-grumbling mother (Mary Wickes). Nichols films these women through a comedic lens, but there's an underlying anguish that he captures with enrichment.If Postcards from the Edge is more scathing than it is meaningful, we have Streep, MacLaine, and Fisher to thank for all of its successes. Streep and MacLaine immerse themselves in their roles, understanding the women they're playing with unforced ease, while Fisher's screenplay contains absolutely scintillating dialogue. It isn't without its faults, but Postcards from the Edge rarely misses the mark.Read more at petersonreviews.com

bkoganbing Although the natural assumption is that when Carrie Fisher wrote her novel Postcards From The Edge she took her own story and that of her mother Debbie Reynolds. I'm sure a great deal of that story got into Fisher's work, but God only knows as a Hollywood kid she had plenty of other examples and role models to choose from. For myself I saw a bit of Joan and Christina Crawford there as well.One of Meryl Streep's numerous Oscar nominations is for Postcards From The Edge and she's a working actress and performer freshly out of a drug rehab and she returns to the house of her mother Shirley MacLaine who is a former film queen whose day is ed, but still takes on the airs of a star. Once a star always a star.These two have generational and personal issues. They can see each other's faults quite clearly, but can't see themselves. That's a bad combination, it leads to a lot of heartache with men and with substances.MacLaine and Streep play beautifully off each other, it's unfortunate that Streep got the Best Actress nomination and MacLaine received none. These are professionals working in joyous tandem.A lot of colleagues like Gene Hackman, Richard Dreyfuss and others worked in small parts probably because they wanted to be associated with this project for one reason or another. My favorite was Mary Wickes playing MacLaine's small town hick mother. In just one hospital scene Wickes may have given her best performance since the put upon nurse in The Man Who Came To Dinner. A lot of territory between those two roles.Besides Streep's nomination Postcards From The Edge received a nomination for Best Song for I'm Checking Out. Streep delivers it in the best Patsy Cline type manner in the final scene. That woman has a lot of country in her.

secondtake Postcards from the Edge (1990)Mike Nichols is as close to a William Wyler as the New Hollywood (post-1967) gives us. His movies are both impeccable and emotionally taut. They feature the very best production values and impressive acting. And they take chances carefully, which isn't actually an oxymoron. Nichols knows he's pushing boundaries, but within the established forms. Even this movie, with its insider look at Hollywood, feels ingenious in a safe way, with echoes of "The Bad and the Beautiful" but with everyone toned down to a perfect realism.One of the tricks of this movie, which is a little over the top in so many small ways (again, careful restraint all around), is keeping the acting believable. And foremost is Meryl Streep, lovable and sympathetic but not quite irable or otherworldly the way older generation actresses so often get portrayed. Streep as a drug-troubled actress is a wonder, and right behind, with deliberate hamminess, is the woman playing her mother, Shirley MacLaine. Add Gene Hackman and Richard Dreyfuss in smaller roles, a cameo by Rob Reiner, and a pretty boy role for Dennis Quaid, and you can see there is something cooking here. So why isn't this a great movie? It has the trimmings of greatness, even beyond the acting. Story by Carrie Fisher, music written by Carly Simon (and performed by the cast). Photography by German import Michael Ballhaus (who by the 1990s was also working for Coppola and Scorcese). Well, some might say it really is great. Even though it is lightweight, even airy as a farce, and even though it leaves you only slightly glad, or happy, at the end rather than transformed, you could argue that Nichols intended something with this flavor, and achieved it. Could be. But for a simple example, take his second movie, "The Graduate," and notice the same tone, humor and irony laced with important topical and emotional strains. How different the effect there, and maybe for a couple of reasons. One, I think, is the subject matter here is the famously glib, plastic, unsympathetic world of overly rich, tabloid saturated Hollywood itself. Another is the inherent plot. What happens? A woman overcomes her addiction to star in another movie, and she seems to move a little forward in her relationship with her mother. Enough? Maybe not.But knowing it's not trying to change the world, you might appreciate the illusory nature of the medium, exposed for us in a whole bunch of different ways (moving props, back projection, doubles used for blocking and framing, lights and camera in action, screening rooms and overdubbing, and so on. This is the stuff behind the drama enacted by Streep and MacLaine and the rest. It's worth watching in its own right.And Nichols and Ballhaus have filmed this to glossy perfection, layering and moving and keeping the long takes going as long as possible (with an apology by Hackman, as a movie director, to Streep, the actress playing the actress, for using such long takes all the time). It's almost as if Nichols is making fun of himself, and the excesses that cause the cast and crew to go a little crazy.Brilliant and entertaining? Completely. Probing or socially satirical in any way? No, not even into Hollywood, which is safely behind all these layers. Still, a film not to miss.