Salt Lake City Weekly

July 23, 2014 8:34 PM

16 0

In the opening moments of And So It Goes, Oren Little (Michael Douglas) visits the grave of his beloved wife. It's a scene that provides a humanizing context for Oren, since he's generally horrible to most of the people with whom he interacts—kinda casually (but vaguely adorably) racist, kinda casually (but vaguely adorably) self-absorbed, etc. And heaven forbid that, in a movie revolving around a character of that sort, we should spend more than 10 seconds worrying if we might ultimately fall in love with him.

It wasn't always this way. There were times when movies were OK with letting us gradually warm up to irascible, abrasive main characters who might require a little on-screen growing up before they're deserving of our—and, by extension, the romantic co-lead's—affections. Such was the case with Billy ...

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