Better character-connection would inject this well photographed episodic journey around the island with a higher level of dramatic justification.
The Great New Wonderful (2006)
Tomatometer
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Reviews Counted:40
Fresh:29
Rotten:11
Average Rating:6.6/10
Consensus: Set in post-9/11 New York, this largely evocative dramedy interweaves the stories of five disconnected individuals who share an unspoken emotional malaise that shadows their attempts at returning to normal life.
Synopsis: Viewers may be shocked to learn that a film set one year after September 11th was directed by Danny Leiner, the man responsible for such stoner comedies as HAROLD AND KUMAR GO TO WHITE CASTLE and... Viewers may be shocked to learn that a film set one year after September 11th was directed by Danny Leiner, the man responsible for such stoner comedies as HAROLD AND KUMAR GO TO WHITE CASTLE and DUDE, WHERE'S MY CAR?. While those films were hardly subtle, A GREAT NEW WONDERFUL tries very hard to be, never directly referring to 9/11 but rather to the general unease that was left in its wake. In what has become a familiar formula, the film relies on interweaving separate narratives to tell five stories simultaneously. As the lives of several New Yorkers from a variety of ethnic and socioeconomic backgrounds unwind in September 2002, we are invited to look for clues of post-traumatic stress. What unfolds, however, could very well have occurred in September 2000, as the film never clearly states how direct a connection the characters have to the World Trade Center attacks. As a ruthlessly ambitious young cake-maker (Maggie Gyllenhaal) aims to outdo her competition (Edie Falco), two immigrant security guards drive around the city and offer commentary on life. Meanwhile, a yuppie mother (Judy Greer) struggles to control her violent and disturbed 10-year-old, a lonely older woman (Olympia Dukakis) in Coney Island attempts to escape her tired routine, and an oddball psychiatrist (Tony Shalhoub) is hired to help an office worker (Jim Gaffigan) who lost several colleagues in the attacks. Sam Catlin's script creates a vagueness and mystery which is both refreshing and frustrating. While never dwelling in sentimentality, the film is thought-provoking in its pondering of the ways in which people deal and fail to deal with things stressful, painful, and shocking. [More]
Starring: Maggie Gyllenhaal, Edie Falco, Tony Shalhoub, Olympia Dukakis
Starring: Maggie Gyllenhaal, Edie Falco, Tony Shalhoub, Olympia Dukakis, Jim Gaffigan, Will Arnett, Stephen Colbert, Judy Greer, Thomas McCarthy, Naseeruddin Shah, Sharad Saxena, Seth Gilliam, Dick Latessa
Director: Danny Leiner
Director: Danny Leiner
Producer: Danny Leiner, Leslie Urdang
Studio: First Independent Pictures
Reviews for The Great New Wonderful
A riveting and quirky movie about the aftershocks of 9/11 in the lives of a group of people still in denial a year later.
This mysteriously rich, mostly wonderful comedy-drama takes place in September 2002, when the lives of its unconnected New Yorkers have returned to something that looks like normal. 'Normal' being a thin layer of tissue paper over the abyss.
This is a film that never really says what's it's about, and may in fact not be about much of anything other than the zeitgeist of the era. Which, if you think about it, is plenty.
[Maggie] Gyllenhaal ... slips into character with greater ease than any other young American actress now in the movies.
The movie itself is having an identity crisis; it tries to make 9/11 a significant day in these people's lives and it has nothing to do with that day, both at the same time.
Leiner's portrait of a post 9/11 New York shows a fragile population, jumpy and sad.
If the writer, Sam Catlin, can’t begin to make the storylines jell, he does elicit squirms and titters from the shark-filled moats between peoples’ conscious and unconscious lives.
Writer Sam Catlin and director Danny Leiner have fashioned an alert, shrewdly observed portrait of a moment in time.
Sam Catlin's script may actually be a little too subtle, and connective tissue joining this diverse group of characters is rendered perilously thin.
Yet -- and quite in spite of its plinky piano score -- The Great New Wonderful conjures occasional vividness, irrepressible pain or insight.
It's a shame that The Great New Wonderful occasionally strains as it reaches all around New York, searching for touched lives and subtext; it's an overachiever already.
It's in the Magnolia/Short Cuts vein and, although it's not as good as those classics, the characters and their dilemmas are absorbing.
No film that I've yet seen better captures the dismal mood that gripped the city in the wake of the [9/11] attacks...
Never mind that the neuroses of these characters cannot be traced to 9/11. The stories are intriguing.
The film, set in September 2002, employs 9-11 as a thematic crutch, positing the attacks as little more than a backdrop for its characters' other, infinitely less significant woes.
There are good performances from nearly everyone, particularly Shah and Gyllenhaal, and the sub-90-minute running time whips right by; but there's nothing extraordinary here either.
Keenly observed and beautifully acted, Danny Leiner's The Great New Wonderful is a seriocomic gem of rare grace and psychological nuance.
Not all the little stories and vignettes work (some seem almost pointless), but most of the performances, especially a haughty luncheon under a veil of politeness with Gyllenhaal and Falco, are spot on, involving and revealing.
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