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Midlife

Wonder Boys

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2000, USA/Germany/UK/Japan, 103 min.

Through the 1980s and 1990s, Michael Douglas garnered a reputation for playing aging men whose bubbling libidos doubled as domestic cautionary tales. This resonant, honest drama, based on Michael Chabon’s novel, is about the messiness of resurrection, not the ease of destruction. Douglas plays college professor Grady Tripp, a once-hot novelist, whose life is now a mess: a failed marriage, too much pot, and an unfinished, long overdue novel that his editor desperately wants. Over the course of an unwieldy weekend, Tripp undergoes an emotional reckoning spurred in part by a troubled but brilliant writing student (Tobey Maguire) and a revelation from his mistress (Frances McDormand), who happens to be his boss. Writer Steve Kloves and director Curtis Hanson keep the action brisk and frenetic without diminishing Tripp’s gradual escape from this self-made crisis. He can no longer hide in the shadows of his shortcomings. 

 

Drive My Car

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2021, Japan, 179 min. (subtitled)

An aging, renowned Japanese stage actor (Hideyoshi Nishijima) directs a production of Uncle Vanya in faraway Hiroshima, another opportunity for him to retreat into an artistic bubble built by tragedy and 20 years of simmering grief. His stasis gets challenged when he is required by his client to use a chauffeur (Tôko Miura), a stoic young woman who carries her own emotional load. That (literal) change in perspective unlocks a slow, emotional awakening, which we see through his conversations with his lead actor (Masaki Okada) and the driver. Director and co-writer Ryûsuke Yamaguchi’s Oscar-winning drama is languidly paced, which gives the proceedings an existential wallop as the characters confront the roles fate has saddled them with. More than an exploration of art vs. life or a treatise on grief, Drive My Car is an uncompromising, beautiful film about the necessity and beauty of living an honest, open life at any age. 

 

Gideon’s Daughter

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2005, UK, 105 min.

Veteran London public relations maven Gideon (Bill Nighy) has the biggest names in entertainment and politics eager for his counsel. But does it matter? His teenage daughter (Emily Blunt) is set to graduate high school, pushing him toward irrelevance in her life. Around this time, Gideon develops a relationship with an offbeat divorcée and grieving mother (Miranda Richardson), whose directness and working class values contrast with Gideon’s life of affluent influence. Stuck between the gravitational pull of these two women, Gideon reevaluates what matters in his life after years of striving for material success. Writer-director Steven Poilakoff has crafted a simple, touching story about people connecting with each other as they rediscover themselves, one that is enhanced thanks to Nighy’s and Richardson’s outstanding performances.  

Chef

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2014, USA, 114 min.

Middle-aged chef Carl Casper (Jon Favreau) is stuck in a simmer. He’s divorced and 3,000 miles away from his 10-year-old son, and the owner of his fancy California restaurant (Dustin Hoffman) stifles his ideas over the old favorites. When a demanding and influential food blogger (Oliver Platt) roasts Carl for his uninspired fare, the chef explodes at the writer in person and on Twitter. An unraveled, now unemployed Carl accepts his ex-wife’s suggestion that he watch their son (Emjay Anthony) for her in Miami, his hometown. The thinly veiled ruse for father-son time energizes Carl. He buys a food truck, renovates it and embarks on a cross-country trek—Carl cooks, the boy handles the social media. Viewers reap the results. This buoyant comedy-drama not only examines the joy that can result when children and parents share a passion, it’s a convincing reminder that it’s never too late to discover your passion. Written and directed by Favreau, who’s known mostly for blockbuster fare (Iron Man, The Jungle Book). 

Nomadland

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2020, United States, 107 min.

As it does with millions of modern-day people, the promise of a traditional retirement has escaped Fern (Frances McDormand). Faced with the death of her husband and the loss of her entire town due to the Great Recession, Fern takes her battered, converted van where there’s work and a place to park. Her new family becomes a wandering band of older Americans who find security in transience. Director-writer Chloé Zhao tells Fern’s story simply and without any contrivances, allowing us to admire a woman who finds her center by traveling the country. McDormand, who served as a producer, delivers a lived-in, authentic performance that enhances the film’s message of resolve. Though the circumstances surrounding Fern’s lifestyle are sad, her determination to find purpose in her life’s breakdown turns Nomadland into an intriguing paradox, a life-affirming criticism of capitalism’s ceaseless grind. Winner of three Academy Awards—Best Director, Best Picture and Best Actress. Based on Jessica Bruder’s book. 

 

The Lunchbox

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2013, India, 104 min. 

In Mumbai, government employee Saajan Fernandes (Irrfan Khan), widowed and withdrawn, sulks toward a lonely retirement, weighed down by the prospect of old age. In the middle of another humdrum day, Saajan sits down for his delivered lunch and is blown away. That food wasn’t made by a restaurant, but by the much younger Ila (Nimrat Kaur), a neglected housewife, long entrenched in a lingering, loveless marriage, hoping to get her disinterested husband’s attention. The mix-up evolves into a daily communication between the two lost souls. Ila packs a note with Saajan’s lunch; he returns the empty containers with a missive. Each exchange reveals more about their lives, bringing them closer to meeting—and having reality interfere. An honest, poignant look at the quiet toxicity of complacency is made compelling by the late Khan’s moving, artfully restrained performance as a man rediscovering his ability to connect with the outside world. Discerning moviegoers will adore this intelligent, exquisite film that is alternately grounded and grand. 

When Did You Last See Your Father?

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2007, UK-Ireland, 92 min. 

Writer Blake Morrison (Colin Firth) is permanently exasperated by his elderly father, Arthur (Jim Broadbent), a bellicose, overbearing doctor whose love for his son comes couched in passive-aggressive barbs. “It’s plastic,” Arthur, long skeptical of his son’s profession, observes after Blake wins a writing award. When Arthur grows seriously ill, Blake returns to his childhood home and is prompted to review their past. The plot toggles between Arthur’s inevitable, unglamorous decline and the early 1960s, when Blake and Arthur’s relationship unravels as the increasingly independent teenager sees his father’s brio and rapport with women as critical shortcomings. Oscar winners Broadbent and Firth are excellent, and director Anand Tucker doesn’t sugarcoat the Morrison men’s sometimes contentious rapport. There will be no gooey bedside chat, so Blake must come to terms with his father’s love without one party providing guidance.  This might be one of the best movies in recent memory that covers the exquisite difficulty of viewing a parent as a person, not as a myth.

And So It Goes

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2014, USA, 94 min.  

In a quaint, coastal New England town, Oren Little (Michael Douglas) is its biggest irritant. He’s rude to dogs, kids, pregnant ladies—pretty much anyone with the temerity to smile at him. Long widowed, Oren is eager to sell his family home and escape his past, until his troubled, adult son (Austin Lysy) drops off his nine-year-old daughter (Sterling Jerins) before heading to prison. Oren wrangles his singer neighbor, Leah (Diane Keaton), to help watch the granddaughter he’s never met, a situation that draws the pair closer to their adorable, unintentional charge—and to each other. Rob Reiner’s comedy-drama has issues beyond Reiner’s character’s hideous toupee. Douglas and Keaton make a nice pair, but the screenplay gives them little sparkling repartee and the plot features absolutely no surprises. The film’s biggest value is as a palate cleanser. Reiner gently urges us to look for happiness at home and shows that embracing forgiveness can open our hearts to unexpected happiness.

Finding Your Feet

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2017, UK, 111 min.

It wasn’t supposed to be like this for Sandra Abbott (Imelda Stauton). Her husband of 40 years had just retired, meaning their life of pampered leisure was supposed to start. Instead, she catches him canoodling in the wine cellar with her best friend, a glimpse of their five-year affair. Sandra moves out of the house and descends on her estranged, bohemian, older sister, Bif (Celia Imrie), who lives in a working-class London neighborhood. Stuffy Sandra flounders in her sister’s free-spirit environment, spending most of her time in a snit. Then Bif takes Sandra to her community dance class, where she finds her feet. Richard Lonzcraine’s perceptive, winning comedy-drama takes no cheap shots as Sandra’s journey of self-discovery is handled with depth and care, especially her growing rapport with a high-stepping handyman (Timothy Spall), who is dealing with his own fractured marriage. Finding Your Feet makes us care for its superb cast of characters, who convince us to leap into happiness—whatever it might be—whenever it enters our view. This is a lovely, life-affirming film that all ages will savor. 

Darling Companion

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2012, USA, 103 min.

When Beth (Diane Keaton) finds a raggedy dog on the side of the road, she can’t bear to let go of the mutt. The development doesn’t sit well with Beth’s husband, Joseph (Kevin Kline), a preoccupied back surgeon. He has little need for a new, furry, family member, whom Beth names “Freeway.” Time passes. Beth’s love for the dog blooms; Joseph remains indifferent. When he loses Freeway in the woods after their daughter’s wedding (to the pooch’s vet), the couple’s search—aided by friends and family members—doubles as a rustic therapy session to reassess their feelings. Lawrence Kasdan’s meditative, leisurely drama fits alongside his previous works (The Big Chill, The Accidental Tourist) and offers a stirring reminder to savor and renew our longest, deepest relationships. Time and inertia do not automatically preserve them. Viewers will adore the talented members of the search party, including Dianne Wiest, Sam Shepard and Richard Jenkins, who, as is his wont, steals every scene he’s in. (Yes, the dog is adorable too.)

Learning to Drive

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2015, USA/UK, 90 min.

Patricia Clarkson and Ben Kingsley star in this touching comedy-drama about taking control of your life in your 50s. Sheltered, affluent book critic Wendy ends up in the NYC taxi of Darwan moments after she is unceremoniously dumped by her husband in a restaurant. When the working-class cabbie, a turban-wearing, Sikh immigrant, returns the next day with the separation papers, he’s not in his cab, but in a car with a “Driving Lessons” sign affixed. Wendy, who cannot drive, spots the sign—and a chance to gain some control over her life. The calm, sage Darwan is the perfect tonic for Wendy’s frazzled state. As Darwan teaches Wendy to drive, she shows him how to embrace the arrival of his wife, a woman he has never met, who throws his work-centric life for a loop. The beauty of Isabel Coixet’s drama is that it treats the main characters as clear-thinking, experienced adults. To solve their personal problems, Darwan and Wendy must look inward as well as to each other. The emotional authenticity will enlighten and reassure audiences, and Clarkson and Kingsley’s genuine, deeply felt performances only reinforce those qualities.  

 

Death of a Salesman

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1985, USA, 136 min.

This staple of high school English classes has remained relevant for decades, and with very good reason. The story is set squarely in the late 1940s/early 1950s, but the theme of regret and unfulfilled promise, and how they can fester and destroy everyone in their path, remains unchanged. Arthur Miller’s mesmerizing portrait of washed-up salesman Willy Loman’s denial-fueled breakdown—the job that’s defined his life for 63 years is over; his grown sons are confirmed losers; the present is so bleak he keeps retreating to the past—is really a battle to leave this world with a shred of impact and relevance. With Dustin Hoffman, however, the old play feels downright electric. His work as Loman is a journey through the emotional spectrum, a feat you behold in slack-jawed awe. The great actor is matched by Kate Reid as his all-knowing yet enabling wife. In early roles, John Malkovich and Stephen Lang are terrific as his wayward, hapless adult sons. There isn’t one wobbly aspect, one untrue moment, in this epic tale of small, defeated people feeling their way through their middle years.

All About Eve

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1950, USA, 138 min.

One of the true classics of American cinema. This backstage drama is as tart and smart and relevant as it was during its initial release in 1950. Wide-eyed ingenue Eve Harrington (Anne Baxter) becomes the assistant to aging Broadway superstar Margo Channing (Bette Davis), but Channing’s circle of friends senses a radioactive presence slinking into their insular world. Eve schemes and backstabs her way from understudy to star, using her youthful energy as a cudgel. But she is blithely unaware that the life she craves is cynical and bitter—the antithesis of her exuberant façade. Director-writer Joseph Mankiewicz’s drama is more than a shrewd showbiz satire. One of cinema’s first depictions of ageism, the film tells us that experience is disregarded, and yet the glow of youth is but a shallow, short-lived weapon. The movie predicts this story won’t end with Margo and Eve. Sadly, more than 60 years later, it’s true. Nominated for 14 Academy Awards and the winner of six, including best picture.

Aquarius

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2016, Brazil/France (subtitled), 146 min.

Sonia Braga delivers a wonderful performance as a widowed 65-year-old who is being pressured by her adult children, as well as developers, to leave her longtime home, a sunny, spacious but shabby, beachside apartment in Recife, Brazil. The reason she stays—though common sense dictates she should bolt—provides the movie’s philosophical backbone: the apartment is a metaphor for her soul. It’s where she is truly herself and at peace. To her children, Clara is the stubborn matriarch; to her friends, she’s a vibrant, bawdy presence. To the world, she’s a veteran music critic anchored to the past. Everyone is correct. Everyone is wrong. The great joy of Kleber Mendonça Filho’s terrific, challenging drama is seeing Clara constantly defy easy categorization. It turns out that self-growth does not have an expiration date.

Last Chance Harvey

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2008, USA, 93 min.

Struggling American jingle writer Harvey Shine (Dustin Hoffman) travels abroad for his estranged daughter’s wedding, a happy occasion that quickly makes him miserable. He’s humiliated by his ex-wife (Kathy Baker), shunned by the bride-to-be (Liane Balaban) and ends up losing his job. Stuck in Heathrow and desperate for a friendly ear, Harvey starts chatting with a lovelorn airport worker (Emma Thompson), who has also reached her limit. The two hit it off and spend an impromptu and redemptive night together in London. This bubbly ode to second chances is buoyed by the terrific performances of Hoffman and Thompson. The Oscar winners bring dignified charm to writer-director Joel Hopkins’ short, sweet and overlooked romantic drama.

The Wrestler

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2008, USA, 109 min.

Former pro wrestler Randy “The Ram” Robinson (Mickey Rourke) gets a shot at recapturing his 1980s glory days. The timing couldn’t be worse. His estranged daughter (Evan Rachel Wood) is reaching out and he’s getting closer to his crush (Marisa Tomei), a stripper with her own problems. It’s an excruciating dilemma: Should The Ram revel in the intoxicating past or work to improve a dismal present? Rourke looks the part with his craggy façade and stringy hair, and he brings to life every facet of The Ram’s pain without resorting to theatrics in this achingly human performance. Tomei and Wood flesh out their characters to show the small progress in The Ram’s stagnant, self-destructive life. Director Darren Aronofsky (Requiem for a Dream) lets the details tell the story—duct tape on The Ram’s jacket, Wood clutching his arm, Tomei’s last look before he faces his fate—to create a portrait of a different (but relatable) midlife crisis.

As Good as It Gets

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1997, USA, 139 min.

Melvin Udall (Jack Nicholson) is sewn to the routine he’s set up as a manic obsessive-compulsive. The permanently angry and unpleasant novelist holes up in his opulent New York City apartment, emerging daily to eat at his favorite restaurant, where he is served by the same waitress, Carol (Helen Hunt). Then Melvin’s world unravels. Carol misses a shift, causing an unhinged Melvin to step into her life to put his own back on track. He’s then forced to care for a dog owned by his hospitalized, artist neighbor (Greg Kinnear), a disruption that leads to a road trip that changes everything. Some viewers might consider Melvin and Carol’s May-December relationship to be the life spark of the film, but that’s missing this upbeat comedy-drama’s greater purpose: we’re never too old to break free from our routines and enrich our world with new experiences and new people.

Unforgiven

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1992, USA, 131 min.

This is the masterpiece that escalated Clint Eastwood’s rise into the cinematic pantheon. Struggling as a farmer, widowed with two children, long-retired gunfighter Bill Munny (Eastwood, who also directed) agrees to help a big-talking kid (Jaimz Woolvett) track down two desperados who maimed a whore. Their travels take the two men and Munny’s old friend Ned Logan (Morgan Freeman) to the town of Big Whiskey, WY, where the sheriff (Gene Hackman) wants to exercise his own brand of justice. Unforgiven is a quietly profound reflection of how life cannot bend to our will. All of our acts, even from long ago, have repercussions—and we have no control over the narrative. There’s a reason why Bill Munny does not ride into the sunset but into a blinding rainstorm. He is who he is. The same applies to us. Winner of four Oscars, including best picture.

Breathing Lessons

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1994, USA, 93 min.

Before Ira and Maggie Moran (James Garner and Joanne Woodward) begin to travel from Baltimore to Pennsylvania for a funeral, she’s already wrecked the car and he’s gotten an earful from his cantankerous dad. As the day twists and turns into an attempt to reconcile their rudderless son (Tim Guinee) with his long-estranged ex (Kathryn Erbe), the couple bickers, makes up and revisits the ups and downs of their 29 years of marriage. Garner and Woodward are so guileless and comfortable together that it feels like we’re traveling with old friends, with a backseat view into a battle-tested marriage. You win some. You lose some. Most importantly, you have somebody with whom you want to face the highs, the lows and all the unglamorous moments in between. In this quietly charming adaptation of Anne Tyler’s novel, one of the perks of getting older is acquiring the ability to move on.

Gran Torino

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2008, USA, 116 min.

Retired autoworker and Korean War veteran Walt Kowalski (Clint Eastwood, who also directed) refuses to embrace the evolving world. Despite his neighborhood’s changing demographics and plummeting safety, he’s not moving from his Detroit home. When a gang skirmish involving his Hmong neighbors spills onto his front lawn, Walt intercedes—and gains the family’s respect. Walt’s simmering xenophobia is challenged by his growing admiration for the household’s two English-speaking teens (Bee Vang, Ahney Her). He softens into a protector, teaching them the gritty intricacies of American life, and regains his own purpose. Gran Torino shows how youth benefit from the knowledge and courage of their elders—if the older generation believes in the future rather than fears it. The same way the characters are pulled together by Walt’s prized possession (the titular American muscle car), a multigenerational swath of viewers will love this film’s big heart and integrity.

Atlantic City

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1981, USA, 104 min.

Against the backdrop of decay and renewal in 1970s Atlantic City, French director Louis Malle presents a story of redemption and triumph. The film stars Burt Lancaster as Lou Pasco, a small-time mobster past his prime who dreams of becoming a powerful and respected criminal. Susan Sarandon plays Sallie Matthews, anxious to pursue her future as an aspiring croupier, who dreams of a better life in Monte Carlo. Atlantic City itself serves as a metaphor for the lost hopes of the past and the chances and possibilities of the future.

Central Station

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1998, Brazil (subtitled), 106 min.

Central Station is a film about possibilities, second chances and discovery. Dora, a cynical, lonely, aging women sits at the central train station in Rio de Janeiro, writing letters for illiterate people hoping to reconnect with loved ones. Indifferent to her clients, Dora arbitrarily decides to send some of the letters while discarding others. When a woman who paid Dora to write a letter to her son’s long-missing father is run over by a bus outside the station, the child, Josue, pleads with Dora to take him to his father. Forced to confront her detachment, Dora commits to returning Josue to his missing parent. Thus begins Dora’s journey of rediscovery. Be sure to follow the ways in which Josue and Dora change each other and, in so doing, discover the possibilities in their own futures.

Passion Fish

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1992, USA, 134 min.

Directed by John Sayles, this is a film about second chances. It depicts a complex caretaker-patient relationship. May-Alice Culhane (Mary McDonnell) is a willful, bitter, soap-opera star whose career is abruptly cut short by an automobile accident, resulting in her paralysis from the waist down. Forced to reestablish herself in her Louisiana childhood home, May-Alice drinks heavily and angrily discharges several caretakers until she meets Chantelle (Alfre Woodard), whose stubbornness matches her own. Chantelle’s no-nonsense approach to her caretaking duties forces May-Alice to confront her limitations and go on with life. It forces them both to forge a new relationship despite their seeming incompatibility.

Nobody’s Fool

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1994, USA, 110 min.

This slice-of-life story, based on the novel by Richard Russo, takes place in a snowbound, upstate New York town where Donald “Sully” Sullivan (Paul Newman), a 60-something hard-luck handyman, rents an upstairs room from Miss Beryl (Jessica Tandy), his former eighth-grade teacher. Estranged from his relatives for 30 years, Sully finds family in the cast of characters at the local bar until his son Peter returns to town with his own family. Sully is forced to confront issues from his early life and gets a second chance to experience the responsibilities and rewards of parenthood and grandparenthood and to realize that there are people in his life who are more important than he is.

The Road to Galveston

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1996, USA, 93 min.

Based on a true story, this made-for-TV film portrays 65-year-old Jordan Roosevelt (Cicely Tyson), alone, destitute and depressed following the death of her husband. Determined to save her home from foreclosure and live on her own, Jordan defies the wishes of her adult son and embarks on a new career as a caregiver for Alzheimer’s patients. Her home becomes a residence for three patients in various stages of the disease. Despite the demands she faces as a caregiver and the challenges of living with limited financial resources, Jordan perseveres. Her home-care clients also thrive, as best they can, forming friendships with one another that transform them as they struggle to maintain some semblance of control over their lives.

The Wash

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1988, USA, 94 min.

Written by Philip Kan Gotanda, this is the story of a Japanese-American woman in her 60s who, defying the convention that would have her endure an unhappy marriage, decides to leave her husband of 40 years. Eight months after Masi has left her gruff, stubborn husband, Nobu, for an apartment of her own, she starts seeing another man but continues to stop by weekly to do Nobu’s laundry. In time, a new romance blossoms, much to the dismay of Nobu and their two grown daughters. Masi’s request for a divorce so she can marry her new boyfriend is an angry confrontation and we see that for all the happiness of the new couple, the claims of the past weigh heavily.

Gloria

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2013, Chile, 110 min.

Despite a busy job and myriad social obligations that fill up her free time, middle-aged divorcée Gloria (Paulina García) is undeniably alone. What’s worse, her grown-up children, who have families and careers, are blithely moving along without her. The arrival of Rodolfo (Sergio Hernández), a successful businessman, into Gloria’s life is a blessing—until she discovers that he can’t detach himself from the family he has left behind. Buoyed by Garcia’s subtly emotive work, director and cowriter Sebastián Lelio’s quietly inspirational drama reveals that it’s never too late to be happy on our terms.

Danny Collins

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2015, USA, 106 min.

The winning, therapeutic Danny Collins teaches us something: namely, that the best things in a long life are usually the least glamorous. Al Pacino portrays the title character—an amalgam of Neil Diamond and Rod Stewart—who long ago abandoned creative integrity for pop-star prancing and all of its goodies—such as a much-younger fiancée, who doesn’t love him, and a mansion with an elevator. When Danny’s manager and best friend (Christopher Plummer, in another fine performance) gives him his birthday gift—a letter John Lennon wrote to a young, confused Danny—the star is struck. What if he had gotten that letter four decades ago? Read more…

Love Is Strange

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2014, USA, 94 min.

Longtime lovers Ben (John Lithgow) and George (Alfred Molina) finally get married, a joyous occasion that loses its luster in a hurry. George’s new status causes him to be fired from the parochial school where he is a music teacher. The pair must sell their New York City apartment, which forces them apart and puts them in the middle of other people’s strange lives. Molina and Lithgow, as you would expect, excel in the lead roles. Director/cowriter Ira Sachs (Married Life, Keep the Lights On) approaches the material without an ounce of sentimentality and with tons of directness, which makes the proceedings all the more heartbreaking. There is no finish line in life. For some, that’s an exhilarating concept; for others, it’s simply exhausting.

While We’re Young

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2014, USA, 97 min.

Getting old doesn’t just happen. You age every day, until like Cornelia and Josh in writer-director Noah Baumbach’s While We’re Young, you wonder how the hell you got here. The bittersweet fun of Baumbach’s tart comedy is how Cornelia and Josh keep dodging the hard truth: they don’t have the energy—or the stomach—to stay young. Yet they try longer than they should. We understand why. We’ve been there or soon will be. Reality bites. Read more…

45 Years

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2015, UK, 95 min.

Kate and Geoff Mercer (Charlotte Rampling and Tom Courtenay) are set to celebrate their 45th wedding anniversary in lavish style when Geoff receives word that the body of his former lover, who died in a hiking accident 50 years ago, has been unearthed. A previously undiscussed and unpleasant element gets thrust into an otherwise perfectly fine marriage. Geoff can’t put the possibilities of yesteryear behind him, while Kate—who publicly disdains hearing about this mystery woman—cannot keep herself from learning more. Director-writer Andrew Haigh, working from David Constantine’s story, slowly peels away the layers of the couple’s simmering discontent and reveals that time, silence and romantic gestures cannot repair battered, intertwined souls. The accumulated weight of our secrets can topple us. Rampling delivers a probing, searing performance as a woman who questions her marriage more with each passing day.

Shirley Valentine

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1989, USA/UK, 108 min.

Shirley Bradshaw (Pauline Collins) is a 42-year-old Liverpool housewife who is so marginalized and isolated that she literally talks to the walls. Her husband (Bernard Hill) thinks she’s going crazy, but the wall at least lets Shirley be herself, something that has been diluted through years of thankless domesticity. When a friend invites her along for a Greek vacation, Shirley reluctantly accepts—and drinks in the freedom. Reprising her stage role, Collins’ spunky and regretful take on a woman facing an emptying hourglass is winning, and director Lewis Gilbert and writer Willy Russell’s refusal to frame Shirley’s rebirth solely through sex gives the movie the bittersweet jolt of recognition. She really does fall in love with herself again; maybe we will as well.

The World’s Fastest Indian

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2005, New Zealand, 125 min.

Anthony Hopkins stars as New Zealander Burt Munro, who has one item on his bucket list in 1962, at age 63: to race his modified 1920 Indian Scout motorcycle on Utah’s fabled Bonneville Salt Flats. It appears to be an impossible endeavor for Burt, a no-frills retiree who lives in a shed and whose bike is the apotheosis of DIY industriousness, right down to using shoe polish to cover the cracks in the tires. Burt gradually puts it all together. He gets a loan to travel to America. He cheerfully solves myriad problems—a bad heart, for one—on his road trip from California to Utah. Most importantly, he inspires everyone he meets, including his fellow racers. Hopkins delivers an endearing performance that features not one whiff of senior stereotyping, and writer-director Roger Donaldson’s utterly charming biopic is a stirring reminder that the human spirit lacks an expiration date.

The Bridges of Madison County

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1995, USA, 135 min.

In dusty, sun-baked Iowa, National Geographic photographer Robert Kincaid (Clint Eastwood, who also directed) meets Francesca Johnson (Meryl Streep), a bored, stranded housewife. From their chance encounter—he stops at her house for directions—a tumultuous, four-day romance erupts. The emotionally authentic performances by the iconic actors are reason enough to watch. It’s the story’s structure, however—Francesca’s adult children relive the long-ago events through their late mother’s detailed journals—that makes us realize that older figures have unexpected depth and poetry to their lives. Our parents, it turns out, were people with churning emotions, a fact Bridges of Madison County reveals with resonance and poignancy.

The Best Exotic Marigold Hotel

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2011, USA, UK, United Arab Emirates, 124 min.

Seven elder Britons in various states of spiritual and physical pique head to India for the proverbial fresh start. Their new home, the Best Exotic Marigold Hotel, is a fresh coat of paint away from being charmingly dilapidated, but it’s a spiritual charger for these boarders, who pursue lost loves, new careers and independence. A surprise hit when it reached US theaters in 2012, John Madden’s stirring, thoughtful comedy-drama features sumptuous cinematography and an emotional authenticity that will enchant adults of all ages. The glittering cast, which includes such pros as Tom Wilkinson, Judi Dench and Maggie Smith, brings depth to each role. You can relate to these people. Followed in 2015 by a disappointing sequel, The Second Best Exotic Marigold Hotel.

Grace and Frankie

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(Season 1, 2015), 13 episodes, available on Netflix streaming

What’s nice about Grace and Frankie—aside from seeing Lily Tomlin and Jane Fonda stretching their comedic wings—is how it looks at the golden years with reality and humor. That theme runs throughout the first 13 episodes of the series. Even when the show veers toward the farcical, we root for the title characters—two not-quite friends whose lengthy marriages come to an abrupt end—far more than we recoil at their actions. Read more…

The Intern

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2015, USA, 121 min.

The Intern is a Nancy Meyers movie, for sure—all sunny skies and characters with straight teeth living in Brooklyn brownstones straight from Architectural Digest. At first glance, it’s another one of Meyers’ puddle-deep salutes to woe among upwardly mobile seniors (It’s Complicated, Something’s Gotta Give). But the longer you stay with it, the more Meyers wins you over with her tale of two colleagues falling into a friendship. Of course, it helps to have Robert De Niro and Anne Hathaway obliterating the artifice. Read more…

Fried Green Tomatoes

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1991, USA, 130 min.

Two stories meld into a heartfelt ode to friendship and personal resilience. In the early 1990s, middle-aged Evelyn Couch (Kathy Bates) befriends spark-plug, nursing home resident Mrs. Threadgoode (Jessica Tandy), who quickly enchants Evelyn with the story of two women she knew from her younger days in Depression-era Alabama: Ruth (Mary-Louise Parker) and Idgie (Mary Stuart Masterson). Through flashbacks, we learn of the single ladies’ fiercely loving friendship, which inspires Evelyn to find the spirit she lost long ago. Directed with warmth and restraint by Jon Avnet, the movie will inspire adults of all ages. Actress Fannie Flagg helped adapt the screenplay from her novel, Fried Green Tomatoes at the Whistle Stop Café (1988).

About Schmidt

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2002, USA, 125 min.

Upon retiring, Warren Schmidt (Jack Nicholson) finds his life beginning to unravel. His wife (Jane Squibb) dies suddenly, resurrecting a troubling secret, and Schmidt’s underachieving daughter (Hope Davis) is on the brink of marrying a numbskull (Dermot Mulroney). In the hope of restoring order, Schmidt drives his new RV from Nebraska to Denver for the wedding and inadvertently embarks on a difficult, necessary journey of self-discovery. Director/cowriter Alexander Payne’s bittersweet comedy-drama is essential viewing for its unglamorous, insightful look at personal growth—which is not solely the domain of the young—and for Nicholson’s humane and stunning performance. Holstering his rebel charisma, the great actor plays an ordinary man finally putting the pieces of his long life together in this sobering, but ultimately redeeming, film.