Before we begin, let’s talk about, or rather, let’s walk down the memory lane of good ol’ days. The same activity that I did when I watched the film, and soon enough you will be able to see why.
I remember Uma Thurman on her pre-Kill Bill days.
She stormed to cinematic world with her classic, fragile beauty as shown on her luminous face, and at first Hollywood seemed clueless not knowing what to do with her otherworldly grace. Surely “Dangerous Liaisons” showcased her acting, and “Pulp Fiction” cemented her cult status, not to mention scoring an Oscar nod for that, but it was not until “The Truth About Cats and Dogs” she can be at her complete ease with her physical quality and make use of that in such a comical way. As further enhanced in “Beautiful Girls” where she still stands tall among an ensemble of fellow young actors, Uma has come full circle in accepting herself and her beauty, and play along with it nicely to equip her with amicable comic timing in every comedy she has done so far.
I remember Meryl Streep on her days in late ‘80s/early ‘90s.
Already touted as a great actress by then, as proved by her 2 Oscars and 6 other nominations as of the year 1990, she surprised filmgoers and critics by taking comic roles successively in “She-Devil”, “Defending Your Life”, and the most hilarious of them all, “Death Becomes Her”. A challenge that she conquered brilliantly, indeed. Who can forget her maniacal expression when her face turned backwards in “Death”? Her sarcasm in “She-Devil” brought down Roseanne’s wits, and she easily matched Albert Brook’s style in “Defending”. Thus, the status of a great living actress is not too much, for she has proved her skill both in dramatic and comic roles equally wonderful.
Now, a film featuring the two actresses baring their souls to the core, when they have to show their range of acting skills, in a comedic film, what can we expect?
As simple as: class-act performances!
In Prime, Uma and Meryl bring out their aforementioned comic skills to their scenes together that prove to be nail-biting and riveting. Look out for them having to chew the uncomfortable awkwardness after finding out that as a shrink (Meryl) and her patient (Uma), now they find themselves as supposedly nemesis to each other after the patient dates the shrink’s son (Bryan Greenberg). Worse, eventually the couple falls in love despite their age difference, not to mention having an overprotective mother who insists on the same-religion marriage.
Thankfully, the awaited solution proves to be satisfying, and I have a good suspicion on how the director and the writer, Ben Younger, can go away easily with this. But no matter what it is, the jovial mood he has on making the film is apparent enough, and such a wise decision indeed to have many scenes featuring Uma being goofy and Meryl turning mad filling up the screen together, sparking good and loud laughter.
After all, it is not everyday we get a mother talk about her son’s penis to his date.