Something's Gotta Give

The level of ice cream on Harry's cone changes between shots.

Erica's cigarette changes from lit to unlit several times between shots in the Parisian restaurant.

In the restaurant in Paris, Erica's glass of wine changes positions several times after Harry first sits down.

Harry's blue scarf is tied differently between shots.

When Erica is making pancakes, she puts the cap back on the milk bottle twice.

When Harry collapses the first time (at Erica's, while goofing around with her daughter) Marin calls the ambulance.

We see her in the background, turned away from the camera, dialing, then turning around.

Next time it cuts back to that very shot, she turns around again.

When Erica and Harry walk at the beach the shadow of the tent-van is visible, actually moving with them When Harry and Erica argue outside the restaurant, a silver Volkswagen Cabrio behind Harry appears to start off from the same spot twice.

The last scene in Paris is supposed to be in January.

When Harry is on the bridge you can see trees with leaves on the river bank.

When Erica and Harry hug on the bridge at the end, Erica's arms are alternately over Harry's shoulders/around his chest between shots.

On the bridge in Paris, when Harry and Erica embrace and kiss, their arms repeatedly change positions between shots.

When Erica and Zoe are listening to 'Marvin Gaye' (qv) in the kitchen, Zoe has a glass in her right hand.

While they are moving to the music Zoe wiggles her fingers, without the glass, in time with the song, however in the next reverse shot she has the glass in her hand again despite not having time to pick it up.

While on the beach, on several occasions we can see the sea rushing to their feet, yet in the next shot they are on dry sand.

The white rose on the table at the restaurant in Paris is fully open the first time it is seen.

Subsequently it is closed and then later partially open again.

When Harry and Erica are chatting via laptop, we clearly see "VAIO" on the back of Harry's while he types in bed.

That's a Sony PC running Windows.

Harry's chat session shows the Apple Macintosh screen, which is what Erica is using.

When Marin is walking in the city as she talks to Erica on the phone, she is walking away from a business.

In the next shot, the business is even closer to her than before.

When Harry and Erica are walking along the beach, a house (presumably hers) can be seen in the background a few hundred feet behind them.

After a couple of close-ups, they are shown in the next long shot as being considerably closer to this house, even though they've been walking away from it the whole time.

When Harry is getting wheeled out of the hospital, the camera turns on the other characters waiting for him in the parking lot.

Although they were supposedly in the Hamptons, there is a palm tree and a California hill in the background.

When Harry and Erica are walking on the beach, you can see the tire tracks made by the camera dolly in the sand behind them.

Marin says the following within a 2-minute span"I am almost 30 years old", "Dad is marrying someone who is only two years older than I am", "Dad is marrying a 33 year old".

These statements cannot all be true.

After Erica drops a plate and it breaks on the kitchen floor, the next shot shows the pieces laying in different positions.

When Erica and Harry are walking along the beach, the house to their left is different distances away.

When Marin and Erica are having the conversation on the steps on the beach, Marin's left hand alternates between being at her side and on Erica's back between shots.

When Harry's assistant is introducing herself in the kitchen, she is wearing earphones which then disappear and reappear between shots.

When Erica and Harry walk the beach, on the way back to house, in the shot just before the one when they stop in front of stairs, we can see that they've already passed the stairs, which are almost 20 yard behind them, in far distance.

Suddenly, they are standing in front of them again.

When Harry is searching for food in the fridge and is suspected of being an intruder, his shirt is alternately buttoned/unbuttoned between shots.

When Harry goes into the hospital a for the third time and tears his shirt open, the buttons on it pop off.

In the next shot there back on.

When Erica is on her Apple, the logo is lit but when it cuts to in front of her, it is no longer lit.

At dinner, Danny's face is lovingly stroked by Marin.

Yet when we immediately cut to Marin, her right shoulder is down, so her hand cannot be stroking Danny.

The boxes of sandwiches in Erica's kitchen as she talks to Dave are stacked 3-high in one shot, then side by side in the next.

When Harry and Erica are arguing outside the restaurant after Erica sees Harry with a young blonde woman her cell phone is in her hand in the shots where the camera is behind her, and not in her hand in the shots where the camera is behind Harry.

Every time the camera switches she's either holding, on not holding, her cell phone.

When Harry and Marin arrive at the Beach house for the very first time, she can clearly be seen, from behind, wearing a small white thong under her white jeans.

In the very next bedroom scene she has removed the jeans, and has suddenly changed into big knickers.

The scene with Julain and Erica in the kitchen starts with Erica's hand pouring water out of a teapot.

When we cut fully to her, Erica holds the pot over what looks like a towel on the counter.

When we cut to her again a moment later, the towel is gone and the teapot is on the stove, its spout pointed toward the wall.

While Harry and Erica cyber-chat after their break-up, Harry keyboard is well-lighted as he is typing.

A few shots later, we see Harry's finger against a dark background, and his keyboard is lighted by a single light.

When Erica emails Harry, she spells the plural of PJs, 'PJ's', with an incorrect apostrophe.

When she finishes her writing, Erica sets down the glasses she has, and in the next shot they are turned over.

At the second day in the Hamptons, when Erica, Harry, and Merin are shopping for groceries, Erica stands before a counter that has display containing copies of"Food & Wine" on it, the display magically disappears/reappears between shots.

When Harry and Marin are driving to Erica's house in the Hamptons, Marin tells Harry to make a right.

But in the next shot, we clearly see them turning left.

After Erica and Harry's long walk on the beach, the sun is obviously low in the sky, and Harry asks if Erica would like to watch the sunset with him.

She can't, because she has to get ready for her date with Julian.

The date was set up for 7:00, so it must be no later than 6:30.

It's the middle of the summer, so the sun shouldn't be setting for at least another two hours.

When Harry speed dials Erica in his apartment, we hear the rapid dial tones.

Cell phones don't make these sounds.

- PLOTEven though Erica is lighting candles because the power has gone out, Harry is still able to turn on the stereo, surprising Erica.

When Erica is on her Apple, sometimes the computer has cords connected in the back which is not possible on a Mac laptop of that vintage; later when she closes it, there are no cords or even connecting slots as is correct for a Mac laptop.

When Harry goes to Erica's room to actually sleep with her, he gets in on the left side of the bed.

However, in the morning, he is on the right side of the bed.

As they lie in bed talking after awakening and the camera cuts back and forth between the characters, Erica's left hand is resting on her chest, then she is holding it above her chest, and then it is resting on her chest again.

When Harry starts hanging up his coat in the restaurant in Paris he is wearing a big blue scarf.

The camera cuts to Erica, then back to Harry as he is just finishing hanging up his coat, but the scarf has disappeared.

Jack Nicholson and Diane Keaton provide the perfect chemistry in this off-beat 2003 romantic comedy. Nicholson shows all of the charm as a playboy with a penchant for younger women this time, it's Amanda Peet, Keaton's daughter in the film.

I am being quite forgiving to give this movie a 4 out of 10. However, the performances by Keanu Reeves and Amanda Peet allow me to give an extra star - they were fairly good.

Rod Stewarts debut album, "An Old Raincoat Won't Ever Let You Down" springs to mind upon viewing this timeless classic for the sixth time. It was even better on this occasion as the anticipation of the memorable moments kept you glued to the screen like a teenage boy watching a "Cindy Crawford pepsi cola commercial".

I admit I'm late. I planned on seeing this movie when it was released in 2003.

Chick-flick rom-com that, to its credit, acknowledges that sex isn't only for under-30s and that women over 50, as long as they look like Diane Keaton, can be sexy. But writer-director Nancy Meyers makes some miscalculations.

This is so bad that it gave me a headache.

The equivalent of porn, except here the bouncing buttocks and close-ups come in the form of privileged, disgusting old people yuppies who behave like hormonal teenagers, struggling with their sex and relationship issues. To see Diane Keaton play such a twitchy, desperate, unintelligent woman alongside Jack Nicholson's creepy 60-something lech--who is supposed to be cute--then expect the audience to celebrate their whiny asses falling in love?

Something's Gotta Give (2003): Dir: Nancy Meyers / Cast: Jack Nicholson, Diane Keaton, Amanda Peet, Keanu Reeves, Frances McDormand: Amusing romantic comedy about relationships and commitment. Jack Nicholson stars as an ageing playboy who travels with his much younger girlfriend to a beach resort where her mother interrupts their romancing.

Movie shows genuine emotional journey of both genders in their post 50's life. Experiencing love for a second time with much confused ideologies.