I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

This film is so real. It treats its characters with so much care and sensitivity.

Blistering performances.

As I was watching this movie, I found myself struck by what seemed to be a number of similarities with the movie "Ordinary People." Like the story in that movie, Richard Dreyfuss and Judy Davis play a couple whose marriage is falling apart as they deal with the accidental death of their son a number of years before. "Coast To Coast," however is not as good as "Ordinary People," although it's not a bad movie at all and while it definitely didn't captivate me, it definitely did pull me in and keep me interested."Coast To Coast" is an often heavy movie, although the heaviness is broken up somewhat by rather low-key comedy, which is largely introduced by making Dreyfuss' character of Barnaby Pierce a comedy writer. Essentially, Barnaby and Maxine (Davis) set off from their home in Connecticut to attend their surviving son's wedding in Los Angeles. (In another scene strikingly similar to "Ordinary People" the surviving son is having problems of his own dealing with his brother's death, as they were in the car together when the accident occurred.) Along the way, Barnaby and Maxine have encounters with several old friends and acquaintances, all of whom seem to have lives even more dysfunctional than theirs. The most notable (to me) of those encounters was with one of Maxine's former professors (played by Maximilian Schell) who has married a young bombshell, but whose ex-wife still lives in the house, coming out only at night and never interacting with the ex-husband. Essentially the central part of the movie is the trip to Denver, when Maxine has a rather difficult encounter with an old flame, played by Fred Ward.Somehow, any real suspense is lacking here. I never had any doubt that Barnaby and Maxine would eventually reconcile, and that reconciliation is certainly hinted at by the last scene of the movie.The performances of Dreyfuss and Davis were the highlights here. Dreyfuss is always excellent, and this was no exception. Davis I was unfamiliar with, having not seen any of her previous work, but she also did a very commendable job with her role. These performances pull a basically OK movie up another notch. "Coast To Coast" didn't blow me away, but on the strength of an interesting story, memorable characters and the above mentioned performances, I still give it a 7/10

This is a funny movie with some smart dialog and a couple adults in adult situations for a change. Thoroughly enjoyable. Dryfus is in control and not doing his "cute" routine. Davis is believable and always nice to see an old vet like Fred Ward. Sometimes you just have to sit back and enjoy a movie and be entertained.In an era of movies pandering to functional illiterates with the attention span of a bi-polar humming bird on crank, it's enjoyable to see a movie with people actually speaking to each other in complete sentences. Or if it isn't your style, there is always the latest Ben Stiller movie. I understand there is a hum dinger staring a blind ferret.

"Coast to Coast" sticks Dreyfuss and Davis front and center as a middle-aged couple on the verge of divorce who take a road trip from East to West coasts to attend their son's marriage while waxing nostalgic, visiting quirky friends, and sorting through old regrets along the way. Supposedly a poignant dramedy about reconciliation, this lame dose of couch potato fodder from Showtime has Toronto standing in for the US and a big hole where the entertainment should be. One can only speculate that budgetary constraints got between the cast and crew and a quality film product result. Coulda-shoulda been better, "Coast to Coast" is an uneven, uninspired nice-try-but-no-cigar near miss. (C)

It was inspired casting in the pairing of Richard Dreyfuss and Judy Davis as Barnaby and Maxine Pierce, a middle-aged married couple on a trek by car from the East to the West coasts. The ostensible purpose of their auto trip is to attend their son's wedding in Los Angeles. At the same time, the couple is contemplating a divorce and is still in recovery from the death of one of their children many years ago. The film reaches for over-the-top comedy in the couple's cross-country reunion with old friends and lovers while simultaneously expressing a painful undercurrent with the couple's long struggle to recover from their personal tragedy.The film juggles the comedic and dramatic styles with uneven results. The best scenes are the comic escapades, such as the visit to Minneapolis where the parents greet their daughter (Selma Blair), who introduces them to her latest fiance (John Salley) and announces that she is carrying another man's child. When the banter is brisk and lively, Dreyfuss and Davis are in fine form, recalling Hepburn and Tracy in "Guess Who's Coming to Dinner?"But when the mood turns downbeat, the actors flounder with dramatic material that does not ring true to their characters. For example, it made no sense when the couple visited Denver and Davis' character Maxine was reunited with her ex-lover. There was even the suggestion that Maxine might remarry the Denver cop (Fred Ward) whose character is not only married, but is frighteningly abrasive. It was implausible that someone with the intelligence of Maxine would find any appeal in an unpleasant character with a hair-trigger temper. It was puzzling as well that the two adult children of Barnaby and Maxine seemed wiser than their world-weary parents and were all-too-ready to provide grief therapy. In any family system, those two children would need to deal with the loss of their sibling, just like their parents.The careful balancing of a comic style with a tragic undercurrent was achieved brilliantly in Edward Albee's play "Who's Afraid of Virginia Woolf?", which deals a couple's presumed loss of a child while concurrently delivering the dark humor. "Coast to Coast" stretches, but falls substantially short of Albee's powerful style. In a single sequence in the L.A. portion of the film, Barnaby first insults his son's female boss in a hotel lobby; the boss subsequently forgives Barnaby unconditionally when she learns that he is the father of her employee; and, in the next scene, Barnaby is openly weeping in a restaurant, causing the other patrons to gawk at him. Are these scenes supposed to be funny or serious?The emotional roller coaster ride stretches credibility due to the weak dialogue, which, in this film, resembles slapdash sitcom writing. And it was especially disappointing in the film medium that there was not more footage of the colorful locations of the cross-country trip (other than a recurring map of U.S.A. shown to the viewer), as Barnaby and Maxine forge their way across the country. There was never a dull moment on this coast-to-coast trip. But the ride was bumpy and uneven.