As I sat in silence as the closing credits rolled on The Savages, and I sat with my eyes fixed on the screen, as they had been for the previous 100 minutes, I noticed that one of the producers was Alexander Payne. I understand why he did it. It's a film about middle-class white people disheartened with their dreary lives, who undergo a crisis. This is the last three flicks Payne has written/directed.

It's a shame that Payne put his name on this one though, because it makes the comparison obvious. And anyone familiar with Payne's work who sees this will realize this film had more depth of character, more warmth, less caricature... it was realer. Tamara Jenkins wrote and directed the same time of film Payne's done his whole career, only better.

Now, don't get me wrong, I'm no Janey. I really like Payne's work. To give you an idea of my regard for Payne-- About Schmidt, Election, and Sideways all made my Top 5 Films of the Year in their respective years.

And yes. The Savages is better than all of those.

Let me also sidetrack for a moment to say I saw Margot at the Wedding, and it was everything The Savages was NOT. It was not well directed, not well shot (good God, the film was so dark), not well edited (choppier than the fight at the beginning of Gangs of New York... and this is a family dramedy, not an action scene), and WORST OF ALL, the whole thing felt fake. It felt like Noah Baumbach just hates the world and has contempt for people. It's a shame the writing was so hollow, because Jack Black gives his best character work I've ever seen here, and Jennifer Jason Leigh puts in some fine work as well. But it was written as if the author hated every character, which gave them no soul.

This is in SHARP contrast with The Savages. Jenkins clearly loves every one of these characters, even at their most assholish moments. The dialogue sparkles at every turn... not in a flashy Aaron Sorkin way, or in a quirky Noah Baumbach way (ugh), but in a way that rings totally true. It's funny, it's painfully sad. It's simply smart writing.

The acting... well, it's two of the best actors working, so big shocker that it's great. But PHILIP BOSCO NEEDS AN OSCAR NOMINATION. I don't fucking care how deep Best Supporting Actor is, and yes, Hoffman, Bardem, Affleck, they're all great. I hear you. This is the type of performance that deserves at least a nod. He never once play his ailments for laughs, and when Linney and PSH's hilarious-but-painful arguing has you laughing, he sucks you back to reality and keeps you grounded. To hold your own against these two titans of the screen is something else... he might even be the best performance in the whole flick.

And this film has heart in spades. Don't let the pitch-black subject matter, the assholish behavior, and the painful arguing dissuade you from seeing this film. I believe Jenkins has optimism for the life we have, even if the end of that life can be a sad, ugly process. This is where Jenkins shines over Payne. Even in Payne's optimistic moments (the close up on Jack's face in About Schmidt as he cries, Paul Giamatti returning to Virginia Madsden's door in Sideways), I still at times have trouble feeling that this whole thing is real. The Savages doesn't have broad gags played for laughs, it doesn't have one-note characters, it doesn't look down on any of the characters' behaviors. There are no hillbillies, no clearly stupid characters, no fat naked people here. Even the "funny situations" here are played totally straight. There's really not a wrong step, a wrong move, or a poor choice made by Jenkins.

So what am I saying? See this flick. If you like Payne's flicks, you should love this. And if you don't like Payne's flicks, this is easily worth a shot, since it's better. It's one of the best movies I've seen all year.

God, what a GREAT year it's been for American cinema.