A chick flick for chicks of all ages, "The Divine Secrets of the Ya-Ya Sisterhood" tells of four Louisiana ladies who establish their secret Ya-Ya sisterhood, bound by blood and oath and honor, at a young age and who remain friends over the years providing each other with friendship and support. The film's thin storyline is about one such "sister" (Burstyn/Judd) who has issues with her adult daughter (Bullock) and her sister Ya-Ya's who come to her rescue much to her dismay. What ensues is a warmly funny kind of jambalaya which makes up for its gaping plotholes with personality, charm, and rambunciousness as it stumbles through it story finally arriving gasping and wheezing at its feel good conclusion. Gagging material for grinches, most will find the "Ya-Yas" are just too damned much fun not to like on some level. (B)
203 Reviews
Ho hum
Edu-1610 September 2003
Warning: Spoilers
SPOILERS Poorly handled flashbacks, with dubious casting of different aged versions of same character. Comedy? Huh?! Nothing funny about child abuse - even if there is some sympathy for the mother. Nothing very funny about madness either - or spoilt southern women, or a husband who has remained with his wife despite having to sleep in a separate room for the last 30 years. A positive riot.
As others have noted, you keep expecting some kind of revelation at the end. But it never materialises, and you are left feeling somewhat short changed. (For a similar but much worse experience see 'The Ninth Gate'). I thought at the least that the boy lost in the war would turn up at some point to explain the mother's mental episode.
There is no explanation for the mumbojumbo behind the Ya-Ya of the title, and certainly no reasonable explanation why four child hood friends should after 50 years remain livng in close enough proximity to be able to go driving every where together. And are we also expected to believe that a boyfriend of some 7 years has yet to meet the parents? Yeah, right.
Maggie Smith can act - but sadly a Southern accent is for her 'a talent too far'. The Oxygen mask I can only assume was a device designed to explain or hide her lapses into English.
In general - a disappointment.
As others have noted, you keep expecting some kind of revelation at the end. But it never materialises, and you are left feeling somewhat short changed. (For a similar but much worse experience see 'The Ninth Gate'). I thought at the least that the boy lost in the war would turn up at some point to explain the mother's mental episode.
There is no explanation for the mumbojumbo behind the Ya-Ya of the title, and certainly no reasonable explanation why four child hood friends should after 50 years remain livng in close enough proximity to be able to go driving every where together. And are we also expected to believe that a boyfriend of some 7 years has yet to meet the parents? Yeah, right.
Maggie Smith can act - but sadly a Southern accent is for her 'a talent too far'. The Oxygen mask I can only assume was a device designed to explain or hide her lapses into English.
In general - a disappointment.
Didn't like it much, but has some good things.
captainditrag18 August 2003
Divine Secrets Of The Ya-Ya Sisterhood is a chick flick, for sure. I didn't like it much, but I think that's because I'm a man. Women I know who have seen this movie liked it a little more that I did (my mom, for example). On the other hand, I also know women who didn't like this film. Now I'll talk about the film itself.
Ellen Burstyn stars as Vivi Walker, mother of magazine article writer Sidda Walker (Sandra Bullock). Sidda writes an article how she didn't like her childhood and blames her mother. Vivi reads the article, and refuses to speak to her daughter. Vivi's three friends Teensy (Fionnula Flanagan), Necie (Shirley Knight), and Caro (Maggie Smith) notice that she isn't acting like herself and when they found out what happened, they beg Sidda to come down and make peace with her mother. Upon her arrival, the three friends reveal to Sidda about the Ya-Ya Sisterhood, a life long band formed by the three friends and Vivi when they were children. They promised that they would be blood sisters or something like that, I don't remember very well. Along with this story, we flash back to Sidda when she was a child and see her relationship with her mother (played in these scenes by Ashley Judd). James Garner costars as Vivi's husband, but he's a very small part of the movie.
I liked some of the acting, particularly Maggie Smith and Sandra Bullock, and the film tells a story worth telling, but some problems drag it down. First, during the flashback scenes, I noticed that Sidda had a few brothers and sisters. However, in the present scenes, they're no where to be found. I admit that the movie is mainly about the relationship of Vivi and Sidda, but considering what happens in the flashback scenes (which I won't reveal), It would have been more plausible if we found out about the siblings now that they've grown up. Also, for me, the movie went on too long. The film is two hours long, but it feels more like it's four hours. Lastly, I thought that the Ellen Burstyn character was kind of a disappointment. Burstyn was much better and more convincing in Requiem For A Dream (2000), which she got a Best Actress nomination for.
So, I didn't hate this movie, but it didn't work for me. I think I didn't like it because I'm a man. I have nothing against "chick flicks". I think that some overcome the "only women will enjoy it" thinking such as Emma (1996), Kate And Leopold (2001), The Evening Star (1996), and arguably the best example, Gone With The Wind (1939). Ya-Ya doesn't cross that line. I know that women will enjoy it much more than men. I'm thinking some men would compare viewing this movie to medieval torture. Even though I didn't like it, I didn't think about it like that. To prove my point, I'm going to quote a couple I saw in the video store, trying to pick a movie out. The woman saw Ya-Ya on the shelf.
Woman: Oh, look. Divine Secrets Of The Ya-Ya Sisterhood. I wanted to see that.
Man: You can see that one by yourself, I'm not going to see it.
I at least was willing to see this film. Women will most likely enjoy it, most men probably won't, but I could be wrong.
2 Stars out of 4 Stars
Ellen Burstyn stars as Vivi Walker, mother of magazine article writer Sidda Walker (Sandra Bullock). Sidda writes an article how she didn't like her childhood and blames her mother. Vivi reads the article, and refuses to speak to her daughter. Vivi's three friends Teensy (Fionnula Flanagan), Necie (Shirley Knight), and Caro (Maggie Smith) notice that she isn't acting like herself and when they found out what happened, they beg Sidda to come down and make peace with her mother. Upon her arrival, the three friends reveal to Sidda about the Ya-Ya Sisterhood, a life long band formed by the three friends and Vivi when they were children. They promised that they would be blood sisters or something like that, I don't remember very well. Along with this story, we flash back to Sidda when she was a child and see her relationship with her mother (played in these scenes by Ashley Judd). James Garner costars as Vivi's husband, but he's a very small part of the movie.
I liked some of the acting, particularly Maggie Smith and Sandra Bullock, and the film tells a story worth telling, but some problems drag it down. First, during the flashback scenes, I noticed that Sidda had a few brothers and sisters. However, in the present scenes, they're no where to be found. I admit that the movie is mainly about the relationship of Vivi and Sidda, but considering what happens in the flashback scenes (which I won't reveal), It would have been more plausible if we found out about the siblings now that they've grown up. Also, for me, the movie went on too long. The film is two hours long, but it feels more like it's four hours. Lastly, I thought that the Ellen Burstyn character was kind of a disappointment. Burstyn was much better and more convincing in Requiem For A Dream (2000), which she got a Best Actress nomination for.
So, I didn't hate this movie, but it didn't work for me. I think I didn't like it because I'm a man. I have nothing against "chick flicks". I think that some overcome the "only women will enjoy it" thinking such as Emma (1996), Kate And Leopold (2001), The Evening Star (1996), and arguably the best example, Gone With The Wind (1939). Ya-Ya doesn't cross that line. I know that women will enjoy it much more than men. I'm thinking some men would compare viewing this movie to medieval torture. Even though I didn't like it, I didn't think about it like that. To prove my point, I'm going to quote a couple I saw in the video store, trying to pick a movie out. The woman saw Ya-Ya on the shelf.
Woman: Oh, look. Divine Secrets Of The Ya-Ya Sisterhood. I wanted to see that.
Man: You can see that one by yourself, I'm not going to see it.
I at least was willing to see this film. Women will most likely enjoy it, most men probably won't, but I could be wrong.
2 Stars out of 4 Stars
Wise, Witty, and Wonderful!
cariart31 October 2002
After all the hype and comparisons to 'Steel Magnolias', 'Divine Secrets of the Ya-Ya Sisterhood', sadly, did not do much box office, which was a shame, as it is a more intimate, realistic vision of women and life-long friendships than the glossier 'Magnolias'.
Four girl friends in Louisiana create a secret sisterhood in 1937, swearing eternal devotion to each other, and they remain best friends through all the triumphs and tragedies in their lives. When the daughter of one of them (Sandra Bullock), a successful playright, has an interview with Time magazine in which she condemns her mother's impact on her life, the mother (Ellen Burstyn, who is superb!) goes ballistic, cutting the daughter out of her life, totally. In charges the other members of the Sisterhood, kidnapping Bullock, and attempting to make things right!
The film then jumps back and forth in time, with Ashley Judd playing the younger Burstyn. She has a lot of happy adventures with her Ya-Ya sisters, but also has to deal with racism, a jealous religious zealot of a mother, an overly loving father (David Rasche, breaking free of his usual comic roles), a true love who dies in WWII, and a family with a guy she 'settles' for (played, in present day, by the wonderful James Garner). There is also a dark secret that is the core of the mother/daughter alienation, which must be dealt with in order for the rift between Bullock and Burstyn to heal (No, I will NOT give it away!)
If you do the math about the years covered, you realize the present-day story SHOULD be taking place in the seventies, at the latest, but this doesn't hurt the overall effectiveness of the picture. As the other present-day sisters, Fionnula Flanagan, Shirley Knight, and (especially) Maggie Smith are WONDERFUL, as is Angus MacFadyen, as Bullock's sympathetic and likable fiance.
While this is unabashedly a 'chick flick', something I really liked was that they DIDN'T fall back on that old chestnut of somebody dying to serve as a convenient catalyst for change and the healing process. And the dialog is full of wickedly hilarious one-liners about men, alcohol, friendship, and growing old!
Don't miss this gem!
Four girl friends in Louisiana create a secret sisterhood in 1937, swearing eternal devotion to each other, and they remain best friends through all the triumphs and tragedies in their lives. When the daughter of one of them (Sandra Bullock), a successful playright, has an interview with Time magazine in which she condemns her mother's impact on her life, the mother (Ellen Burstyn, who is superb!) goes ballistic, cutting the daughter out of her life, totally. In charges the other members of the Sisterhood, kidnapping Bullock, and attempting to make things right!
The film then jumps back and forth in time, with Ashley Judd playing the younger Burstyn. She has a lot of happy adventures with her Ya-Ya sisters, but also has to deal with racism, a jealous religious zealot of a mother, an overly loving father (David Rasche, breaking free of his usual comic roles), a true love who dies in WWII, and a family with a guy she 'settles' for (played, in present day, by the wonderful James Garner). There is also a dark secret that is the core of the mother/daughter alienation, which must be dealt with in order for the rift between Bullock and Burstyn to heal (No, I will NOT give it away!)
If you do the math about the years covered, you realize the present-day story SHOULD be taking place in the seventies, at the latest, but this doesn't hurt the overall effectiveness of the picture. As the other present-day sisters, Fionnula Flanagan, Shirley Knight, and (especially) Maggie Smith are WONDERFUL, as is Angus MacFadyen, as Bullock's sympathetic and likable fiance.
While this is unabashedly a 'chick flick', something I really liked was that they DIDN'T fall back on that old chestnut of somebody dying to serve as a convenient catalyst for change and the healing process. And the dialog is full of wickedly hilarious one-liners about men, alcohol, friendship, and growing old!
Don't miss this gem!
Debatable
davispittman13 March 2016
Divine secrets of the ya ya sisterhood is not as good as I thought it would be. It does feature good performances from Ellen Burstyn, Sandra bullock, Maggie smith, and Ashley Judd. Judd is particularly great here, her best performance If u ask me. The script is so so. That's the key with this film, the actor's performances are great, but the script is questionable. The storyline is sweet, with some mature and very heavy subject matters. It is handled nicely I think, but there are just soma kinda uneven places in the movie. I dint think it's a bad movie at all, I just personally believe it could have been better than it was. 6/10
Not so divine to me ...
Paula579 June 2002
Warning: Spoilers
I really, really wanted to like this film, and before you read the rest of this I will say I can't explain why I don't like it without spoilers, so you've been warned.
This film is being sold as a feel good, female bonding, mother-daughter, chick flick. While it's all those things, it's also about a mother, Vivi (Ellen Burstyn in the present, Ashley Judd in the past) who drank too much and beat her kids. Yes, she lost her true love in the war. Yes, she had a nervous breakdown. And yes, she really, really feels bad about beating her kids. But when daughter Sidda Lee (Sandra Bullock) goes public about her abusive childhood, Vivi doesn't apologize, she pitches a fit and has another Bloody Mary.
Don't get me wrong. There were some good times in Sidda Lee's childhood, and her father reminds her that she should remember those instead. Because it is the adult child's responsibility to understand and forgive the abusive parent. Yes, that strange sound you hear is my blood boiling.
So with the help of the (mostly) drunk Ya-Ya Sisters, kidnapped Sidda Lee comes to understand that her mother was heart broken and sometimes the kids all got sick at the same time and that's why she drank and beat the crap out of them. So Sidda forgives Vivi, even though Vivi still never apologized. Then the band plays and everyone is happy.
Were there times when I laughed? You bet. There are some great lines. But the movie is slow, jumps around in time far more than necessary, and handles serious issues like alcoholism and child abuse far too lightly. I have no idea why this film was championed by Bette Midler, Bonnie Bruckheimer, Callie Khouri and Sandra Bullock. Surely they could have found a better women's story to film.
This film is being sold as a feel good, female bonding, mother-daughter, chick flick. While it's all those things, it's also about a mother, Vivi (Ellen Burstyn in the present, Ashley Judd in the past) who drank too much and beat her kids. Yes, she lost her true love in the war. Yes, she had a nervous breakdown. And yes, she really, really feels bad about beating her kids. But when daughter Sidda Lee (Sandra Bullock) goes public about her abusive childhood, Vivi doesn't apologize, she pitches a fit and has another Bloody Mary.
Don't get me wrong. There were some good times in Sidda Lee's childhood, and her father reminds her that she should remember those instead. Because it is the adult child's responsibility to understand and forgive the abusive parent. Yes, that strange sound you hear is my blood boiling.
So with the help of the (mostly) drunk Ya-Ya Sisters, kidnapped Sidda Lee comes to understand that her mother was heart broken and sometimes the kids all got sick at the same time and that's why she drank and beat the crap out of them. So Sidda forgives Vivi, even though Vivi still never apologized. Then the band plays and everyone is happy.
Were there times when I laughed? You bet. There are some great lines. But the movie is slow, jumps around in time far more than necessary, and handles serious issues like alcoholism and child abuse far too lightly. I have no idea why this film was championed by Bette Midler, Bonnie Bruckheimer, Callie Khouri and Sandra Bullock. Surely they could have found a better women's story to film.
A good movie- for a really good cry.
this_is_the_way_the_world_ends10 October 2005
Warning: Spoilers
This story comes across as very true and heartfelt, yet easily misunderstood. If you don't understand something of dysfunctional families and human psychology, this movie is not going to make sense for you- you will be looking for something that never comes.
When Sidda's offhand comment sparker her mother's rage, the ya-ya's intervene. What about this episode let's them know that it's more serious than any other falling out the two woman have had? Who knows. Maybe it's because Sidda's getting married, and the ya-ya's know that neither will really want the other to miss this important part of Sidda's life. Later, they are even more concerned when Sidda reveals that her past trauma is threatening her future happiness.
"What is the big secret that lets sidda's mother off the hook for years of abuse and alcoholism and abandonment" is NOT the point of the movie. The point comes in Sidda's question- what if I turn out to be like her, a woman who beats her children and leaves? Another big clue is given when Sidda says, "Me not lovin' mama was never the problem." (see- she loves her mom, despite many reviewers who may feel that this love or forgiveness is unfounded) Maggie Smith replies: "Her not loving you was never the problem either." That is the crux right there- now comes convincing Sidda of this truth. It's not forgiving her mother, but finally being able to stop blaming herself for the sudden change in her mother. The revelation, too subtle for many, is that Sidda didn't cause the change and Sidda herself won't suddenly become a monster when she is 'tied down' with marriage and children either.
I fault the movie for not fully explaining how the med's that Vivi took were later found to cause psychotic episodes, a fact which no one knew at the time. And for not stressing this link, and the shame that Vivi felt at having been involuntarily committed (a line in the dialog that could have easily been missed by many viewers) that was so deep that she would let her children think instead that she had abandoned them. Too much stress was layed on the emotional scenes- and not enough on some of the most important details.
Also, this movie made me cry constantly. I felt so drained at the end of this movie. I'd save this movie for a day when you don't have to get anything done, a day when you feel like you 'just need to cry' but don't know the reason. This movie will give you a reason.
It seems to me that the major flaws of this movie may have come in a somewhat sloppy adaptation and then later in post production and by assuming that the audience knows more than they do. And finally, by letting some of the most revealing lines skim by without much notice.
A good movie- for a really good cry.
When Sidda's offhand comment sparker her mother's rage, the ya-ya's intervene. What about this episode let's them know that it's more serious than any other falling out the two woman have had? Who knows. Maybe it's because Sidda's getting married, and the ya-ya's know that neither will really want the other to miss this important part of Sidda's life. Later, they are even more concerned when Sidda reveals that her past trauma is threatening her future happiness.
"What is the big secret that lets sidda's mother off the hook for years of abuse and alcoholism and abandonment" is NOT the point of the movie. The point comes in Sidda's question- what if I turn out to be like her, a woman who beats her children and leaves? Another big clue is given when Sidda says, "Me not lovin' mama was never the problem." (see- she loves her mom, despite many reviewers who may feel that this love or forgiveness is unfounded) Maggie Smith replies: "Her not loving you was never the problem either." That is the crux right there- now comes convincing Sidda of this truth. It's not forgiving her mother, but finally being able to stop blaming herself for the sudden change in her mother. The revelation, too subtle for many, is that Sidda didn't cause the change and Sidda herself won't suddenly become a monster when she is 'tied down' with marriage and children either.
I fault the movie for not fully explaining how the med's that Vivi took were later found to cause psychotic episodes, a fact which no one knew at the time. And for not stressing this link, and the shame that Vivi felt at having been involuntarily committed (a line in the dialog that could have easily been missed by many viewers) that was so deep that she would let her children think instead that she had abandoned them. Too much stress was layed on the emotional scenes- and not enough on some of the most important details.
Also, this movie made me cry constantly. I felt so drained at the end of this movie. I'd save this movie for a day when you don't have to get anything done, a day when you feel like you 'just need to cry' but don't know the reason. This movie will give you a reason.
It seems to me that the major flaws of this movie may have come in a somewhat sloppy adaptation and then later in post production and by assuming that the audience knows more than they do. And finally, by letting some of the most revealing lines skim by without much notice.
A good movie- for a really good cry.
A Profoundly Serious Movie
roedyg8 December 2005
Despite its silly title, which just refers to a childhood game, this is a profoundly serious movie about reconciliation.
It spans three generations of women, tormented by religion and mental breakdown. It explores three generations of mother-daughter relationships.
This would be a great movie for any child of an abusive mother.
Siddalee, the Sandra Bullock character, gradually comes to understand her grandmother and mother and is thus gradually able to forgive them.
It is a frustrating movie. I found myself demanding the plot bound along with series of Hollywood contrivances, but it meanders and backtracks, tantalising then not delivering, much like real life.
The unbearably aching mood of reconciliation and nostalgia gradually develops, partly due to the long suffering, ever-loving Shep Walker (James Garner in a low-profile role quite unlike the ones he normally plays), and Connor (Angus Macfadyen), Siddalee's ever-patient Irish boyfriend.
Maggie Smith is in it, reason enough to watch it.
The movie recreates the south in lush Technicolor over three generations, a visual feast.
If you are embarrassed to cry in public, make sure to watch this alone.
It spans three generations of women, tormented by religion and mental breakdown. It explores three generations of mother-daughter relationships.
This would be a great movie for any child of an abusive mother.
Siddalee, the Sandra Bullock character, gradually comes to understand her grandmother and mother and is thus gradually able to forgive them.
It is a frustrating movie. I found myself demanding the plot bound along with series of Hollywood contrivances, but it meanders and backtracks, tantalising then not delivering, much like real life.
The unbearably aching mood of reconciliation and nostalgia gradually develops, partly due to the long suffering, ever-loving Shep Walker (James Garner in a low-profile role quite unlike the ones he normally plays), and Connor (Angus Macfadyen), Siddalee's ever-patient Irish boyfriend.
Maggie Smith is in it, reason enough to watch it.
The movie recreates the south in lush Technicolor over three generations, a visual feast.
If you are embarrassed to cry in public, make sure to watch this alone.
Blew me away!
tidepride25 November 2002
I sat down on a Saturday night at 9:30 to watch this movie. I watched it through twice before I went to bed that night, twice again on Sunday, and now it's Monday night and I've just watched it all the way through again. And I NEVER do that!
I came to this movie with little or no expectations. I had not read the book (but I will!), although I knew it had been a bestseller for awhile, and was on Oprah's list. I hadn't even paid any attention to who was in it, so was thrilled to see one of my very favorite actresses, Ellen Burstyn.
I can't really tell you what made this movie speak to me the way it did. I had a very happy childhood, and so couldn't relate on that level at all. The cast was phenomenal, particularly Sandy Bullock as Siddalee.
All I can say is what someone before me already said - this is one you should judge for yourself, not by what others say.
I came to this movie with little or no expectations. I had not read the book (but I will!), although I knew it had been a bestseller for awhile, and was on Oprah's list. I hadn't even paid any attention to who was in it, so was thrilled to see one of my very favorite actresses, Ellen Burstyn.
I can't really tell you what made this movie speak to me the way it did. I had a very happy childhood, and so couldn't relate on that level at all. The cast was phenomenal, particularly Sandy Bullock as Siddalee.
All I can say is what someone before me already said - this is one you should judge for yourself, not by what others say.
A Warm Mint-Julep of a Flick
OutsideHollywoodLand2 February 2010
Movies that feature "women-only" themes are few indeed and at any given time we can count their existence on one finger. Hollywood loves reminding us that "it's a man's world, baby" and I would hazard a guess that 95% of current box office offerings are male-centered (That is, male = hero, victim, anti-hero; with a female = smart talking' and lookin' and barely visible unless required to provide booty, tears, or encouragement to - you guessed it, the male!).
So when a movie with a female-centered cast and theme (trivialized by the term "chick flick") is served to us, I watch with a wary eye and a hopeful heart. Why? Because most chick flicks are written, directed, and produced by men...maybe that's why there are so few of them! To the credit of The Divine Secrets of The Ya-Ya Sisterhood, it didn't disappoint my heart or my head.
The Ya-Ya Sisterhood takes the universal theme of mother-daughter conflict and serves it up as refreshingly as a mint julep on a scorching day. Taking place in Louisiana, this movie leads us through a merry romp of friendship and fierce loyalties, stopping along the way to tug at our heart strings and drag out the tissues (don't all good chick flicks?).
The plot centers around a young director (Sandra Bullock) who is estranged from her Old School Southern Belle mother (Ellen Burstyn) and nervous about her upcoming nuptials. Through the "divine" intervention of the Ya-Ya's - a three woman tag-team of family friends - (played by Maggie Smith, Shirley Knight, and Fionnula Flanagan) the daughter is able to heal old familial wounds and welcome her new role as daughter, wife (and future mother).
Yet, layered within this beautiful film is three levels of female experience, told through the life of Maiden-Mother-Salty Sage women Burstyn and Ashley Judd. (I'd like to see Judd get a nod at the next award show for this multi-faceted role.) Add to that a funny and tender juxtaposition of the men in their lives (James Garner and Angus MacFadyen) and everyone is sure to get their Ya-Ya's out! Unforgettable in every way!
So when a movie with a female-centered cast and theme (trivialized by the term "chick flick") is served to us, I watch with a wary eye and a hopeful heart. Why? Because most chick flicks are written, directed, and produced by men...maybe that's why there are so few of them! To the credit of The Divine Secrets of The Ya-Ya Sisterhood, it didn't disappoint my heart or my head.
The Ya-Ya Sisterhood takes the universal theme of mother-daughter conflict and serves it up as refreshingly as a mint julep on a scorching day. Taking place in Louisiana, this movie leads us through a merry romp of friendship and fierce loyalties, stopping along the way to tug at our heart strings and drag out the tissues (don't all good chick flicks?).
The plot centers around a young director (Sandra Bullock) who is estranged from her Old School Southern Belle mother (Ellen Burstyn) and nervous about her upcoming nuptials. Through the "divine" intervention of the Ya-Ya's - a three woman tag-team of family friends - (played by Maggie Smith, Shirley Knight, and Fionnula Flanagan) the daughter is able to heal old familial wounds and welcome her new role as daughter, wife (and future mother).
Yet, layered within this beautiful film is three levels of female experience, told through the life of Maiden-Mother-Salty Sage women Burstyn and Ashley Judd. (I'd like to see Judd get a nod at the next award show for this multi-faceted role.) Add to that a funny and tender juxtaposition of the men in their lives (James Garner and Angus MacFadyen) and everyone is sure to get their Ya-Ya's out! Unforgettable in every way!
What makes a "Chick Flick" a "Chick Flick":
ldavis-221 June 2002
Warning: Spoilers
1) a grab-ya-by-the-heart premise (see "The Way We Were")
2) a script free of insulting stereotypes (see "Out of Africa")
and, most importantly...
3) characters you sympathize with, even when you want to throttle them (see "Terms of Endearment")
Instead, what we get is a movie about a vain, self-absorbed windbag and her Kentucky-fried, bourbon-drenched pals whose loyalty to the aforementioned, inexplicably, know no bounds. Vivi and her fellow Ya-Yas didn't earn my laughs, empathy or admiration (essential for a Chick Flick). I just wanted to bitch-slap the whole lot of 'em!
The lip service it pays to race relations and its failure to explore Vivi's relationships with her other children (and the Ya-Yas' relationships with their spouses/children) was galling enough. But what really sent me over the edge was the big "secret" that was supposed to explain Vivi to Sidalee. Not to give it away, but it doesn't explain A THING -- at least, not to those of us who were stupid enough not to check our brains at the door. Wouldn't have Sidalee known "that" already? Shep's excuse - that Vivi made him promise not to tell - not only does not fly, it's sloppy, insult-our-intelligence writing.
There was a movie about parent/child relationships screaming to get out here. But like "Ice Age," it wimps out when it's time to put up or shut up. And THIS from the writer of "Thelma & Louise." How sad.
2) a script free of insulting stereotypes (see "Out of Africa")
and, most importantly...
3) characters you sympathize with, even when you want to throttle them (see "Terms of Endearment")
Instead, what we get is a movie about a vain, self-absorbed windbag and her Kentucky-fried, bourbon-drenched pals whose loyalty to the aforementioned, inexplicably, know no bounds. Vivi and her fellow Ya-Yas didn't earn my laughs, empathy or admiration (essential for a Chick Flick). I just wanted to bitch-slap the whole lot of 'em!
The lip service it pays to race relations and its failure to explore Vivi's relationships with her other children (and the Ya-Yas' relationships with their spouses/children) was galling enough. But what really sent me over the edge was the big "secret" that was supposed to explain Vivi to Sidalee. Not to give it away, but it doesn't explain A THING -- at least, not to those of us who were stupid enough not to check our brains at the door. Wouldn't have Sidalee known "that" already? Shep's excuse - that Vivi made him promise not to tell - not only does not fly, it's sloppy, insult-our-intelligence writing.
There was a movie about parent/child relationships screaming to get out here. But like "Ice Age," it wimps out when it's time to put up or shut up. And THIS from the writer of "Thelma & Louise." How sad.
Na-Na?
QueenMakeda8423 January 2005
I liked this movie. I really did. Someone very close to me has a mother very much like this. It's reality folks, not everyone has a sensible loving mother that grasps the role of "motherhood" like a duck to water. Some people remain stuck in a selfish state where they blame everyone/thing else for all their unhappiness and the misdirection of their lives. I'm glad there's a movie that brought that subject to light. One user said the movie is celebrating an alcoholic, but that's untrue. You're watching a woman go further and further into a downward spiral of self-pitying despair and hatred for the events of her life. I also didn't find Vivi's mother to be evil, but she seemed to have been desperately trying to claim her role as a respectable wife. When your husband treats horses better than you, you get a little miffed. He dismissed her as his partner in life for a child she gave him, so the woman aimed her frustrations at her child, instead of her husband. At that time, what could she have really done to the husband? He would've beaten her most likely. I appreciated the fact that Vivi was flawed. Just humanly flawed and admitted it. It sucks that people have parents like this, but Sidda learned to deal with it in her own way. I'm glad it wasn't a typical reaction, like drugs or promiscuity. She just accepted her mother for what she is: flawed and screwed up. Motherhood doesn't make you unselfish and well-versed in letting go of your troubles. That's something you learn over time, and the movie showed that. It might take 40-odd years as it did them, or someone could get it the moment the child is born. What I got from the film is that your parents had dreams and nightmares before you came into the picture, and it takes a lot out of them to come to terms with being responsible for a life that they may or may not be ready for. I also really loved the part where Sidda begins to question her ability to be a good mother and wife. I think that resonated well. I certainly would start to wonder. Parents can screw up their kids easily I tell ya. It's not a responsibility to enter into lightly. I'm sure there were flaws like the accents of Louisiana and technical stuff, but altogether, the movie really reaches many levels.
God help me, I actually like this movie
big_ringer1 June 2005
Warning: Spoilers
When I first saw the trailers for "Divine Secrets" (forgive me if I choose not to use the full title), the two words that came to my mind was "chick flick" and, like most guys, avoided it like the plague. I finally got to see it at a friend's house, because she offered, and I was willing to give most movies a chance. In the end I found myself pleasantly surprised.
For those who may not know, "Divine Secrets" centers around the relationship between Siddalee Walker (Sandra Bullock) and her mother Vivi (Ellen Burstyn). Sidda is a famous writer/playwright who makes some disparaging comments about Vivi in a magazine interview. Vivi takes extreme offense to Sidda's comments and a small war between the two ensue. It's then up to the "Ya-yas" (Vivi's long-time friends) to show Sidda the other side of her mother and repair the mother-daughter bond before it's too late.
The Mother-Daughter relationship is a little "Joy Luck Club" and the southern dysfunctional family is straight out of "Prince of Tides" but "Divine Secrets" is nowhere near as serious as the previous two titles. This isn't to say that "Divine Secrets" isn't without its serious moments. Slight warning to those whose families come on the dysfunctional side: there are parts in this movie that will make you slightly uncomfortable if not cringe. But, as with good storytelling, the light and dark moments balance each other out.
Overall, on my movie hierarchy scale, "Divine Secrets of the Ya-Ya Sisterhood" is good enough for a Rental, or purchase on the cheap-o rack at Hasting's. Good Acting+Good Storytelling = good movie.
For those who may not know, "Divine Secrets" centers around the relationship between Siddalee Walker (Sandra Bullock) and her mother Vivi (Ellen Burstyn). Sidda is a famous writer/playwright who makes some disparaging comments about Vivi in a magazine interview. Vivi takes extreme offense to Sidda's comments and a small war between the two ensue. It's then up to the "Ya-yas" (Vivi's long-time friends) to show Sidda the other side of her mother and repair the mother-daughter bond before it's too late.
The Mother-Daughter relationship is a little "Joy Luck Club" and the southern dysfunctional family is straight out of "Prince of Tides" but "Divine Secrets" is nowhere near as serious as the previous two titles. This isn't to say that "Divine Secrets" isn't without its serious moments. Slight warning to those whose families come on the dysfunctional side: there are parts in this movie that will make you slightly uncomfortable if not cringe. But, as with good storytelling, the light and dark moments balance each other out.
Overall, on my movie hierarchy scale, "Divine Secrets of the Ya-Ya Sisterhood" is good enough for a Rental, or purchase on the cheap-o rack at Hasting's. Good Acting+Good Storytelling = good movie.
Disjointed movie
aidan-296 July 2005
Warning: Spoilers
Spoiler ahead. I got lost many times in this movie and I have to say that perhaps the book was difficult to adapt to film. It seemed to lack any real depth in telling a believable story, it was too fragmented. Also the issues of abuse and the reasons behind the abuse were clouded in mystery and then when they finally are shown I feel they are not treated with the seriousness that they deserve. Also what is such a good cast doing in this movie. It doesn't compare with Fried Green Tomatoes which is one of my favourite movies. Also Angus Macfadyen's Irish accent is just the worst Irish accent since Tom Cruise in Far and Away which was dreadful. Not one of Sandra Bullocks best movies either. All in all rather disappointing
A sweet tale of female friendships
Jade-Hassett24 September 2004
This film is really a celebration of female relationships between; mothers and daughters, between girl friends and between wife and husband. There are numerous flash backs, but the film flows at a good pace that it is not a distraction at all.
The storyline is very light hearted to begin with, but gets darker. Ashley Judd does a great performance as an Alcohol addicted mother and Ellen Burstyn is also good as the older character, played by Ashley Judd. The humour is funny enough and does not go overboard. See this film with your girl friends, and make sure you bring a box of Kleenex with you. A two thumbs up.
The storyline is very light hearted to begin with, but gets darker. Ashley Judd does a great performance as an Alcohol addicted mother and Ellen Burstyn is also good as the older character, played by Ashley Judd. The humour is funny enough and does not go overboard. See this film with your girl friends, and make sure you bring a box of Kleenex with you. A two thumbs up.
Confusion
bcjjjs13 February 2015
Warning: Spoilers
The Sisterhood is portrayed in "now and then". The casting of the older sisterhood was Ellen Burstyn as Vivi, Fionnula Flanagan as Teensey, Shirley Knight as Necie and Maggie Smith as Caro, all brilliant. The problem was the casting of the four actresses who portrayed the sisterhood when they were younger.
Ashley Judd does not resemble Ellen Burstyn as a younger woman and neither do the other three actresses portraying Teensey, Necie and Maggie, respectively. This made the film very confusing to watch. The film often reverted back and forth, from present day to the past. As the writers did not use the sisterhood names enough in the script, the viewer could not readily identify who they were.
EXAMPLE (SPOILER ALERT): Ashley Judd is riding a bike with a friend (never identified, is it Carol or Necie or somebody else?) over a bridge. They are stopped by a young man. Who is he? (I had to look up his face on IMDb to find he is listed as Vivi's brother, Pete!) The young man says, "Vivi, we have to go to Teensey's house." He was sad. They leave to go to Teensey's house. I still do not know who is the other girl on the bike. If the writers had added to Pete's dialogue, "Caro (or Necie?), come with us" then it would have helped the viewer know who she is. When the three arrive at Teensey's house, you slowly realize that Teensey's brother is Jack, Vivi's fiancé, who was killed in the war. And the viewer was to know they were related, how? This happened so often in the film that I kept rewinding scenes to "get" the film.
The film is a disturbing look at Vivi's life. She never recovered from Jack's death, married Shep (James Garner) on the rebound, had 4 children, and was completely unhappy, almost to the point of hating everyone around her. She heads on a downward spiral, ending up an alcoholic.
(SPOILER ALERT) When Siddalee (excellently portrayed by Sandra Bullock, as Vivi's eldest daughter) was a young girl, Vivi had a total nervous breakdown. Vivi then disappeared, in Siddalee's eyes. Siddalee and her siblings thought their mother went away because they were bad. Siddalee remembers it wrongly because Vivi made Shep swear never to tell the children she had been committed. Because this tragic secret had never been revealed to Siddalee, she had been in and out of therapy her entire life.
I am honestly not an Ashley Judd fan. Most of the film rested on her shoulders. We realize that Vivi is emotionally scarred due to a jealous, mentally unstable mother. I could've felt sorry for Vivi, but Judd did not make the character likable. In many scene, Judd either underacts or overacts. Later in the film, the modern-day Necie says to Siddalee, "I wish you could've known your mother when she was younger. She was so likable." And I said out loud, "no, she not."
Ashley Judd does not resemble Ellen Burstyn as a younger woman and neither do the other three actresses portraying Teensey, Necie and Maggie, respectively. This made the film very confusing to watch. The film often reverted back and forth, from present day to the past. As the writers did not use the sisterhood names enough in the script, the viewer could not readily identify who they were.
EXAMPLE (SPOILER ALERT): Ashley Judd is riding a bike with a friend (never identified, is it Carol or Necie or somebody else?) over a bridge. They are stopped by a young man. Who is he? (I had to look up his face on IMDb to find he is listed as Vivi's brother, Pete!) The young man says, "Vivi, we have to go to Teensey's house." He was sad. They leave to go to Teensey's house. I still do not know who is the other girl on the bike. If the writers had added to Pete's dialogue, "Caro (or Necie?), come with us" then it would have helped the viewer know who she is. When the three arrive at Teensey's house, you slowly realize that Teensey's brother is Jack, Vivi's fiancé, who was killed in the war. And the viewer was to know they were related, how? This happened so often in the film that I kept rewinding scenes to "get" the film.
The film is a disturbing look at Vivi's life. She never recovered from Jack's death, married Shep (James Garner) on the rebound, had 4 children, and was completely unhappy, almost to the point of hating everyone around her. She heads on a downward spiral, ending up an alcoholic.
(SPOILER ALERT) When Siddalee (excellently portrayed by Sandra Bullock, as Vivi's eldest daughter) was a young girl, Vivi had a total nervous breakdown. Vivi then disappeared, in Siddalee's eyes. Siddalee and her siblings thought their mother went away because they were bad. Siddalee remembers it wrongly because Vivi made Shep swear never to tell the children she had been committed. Because this tragic secret had never been revealed to Siddalee, she had been in and out of therapy her entire life.
I am honestly not an Ashley Judd fan. Most of the film rested on her shoulders. We realize that Vivi is emotionally scarred due to a jealous, mentally unstable mother. I could've felt sorry for Vivi, but Judd did not make the character likable. In many scene, Judd either underacts or overacts. Later in the film, the modern-day Necie says to Siddalee, "I wish you could've known your mother when she was younger. She was so likable." And I said out loud, "no, she not."
Disgusting, Reaganesque moral
Clift17 March 2003
This movie is in the same vein as Khouris' last, Grace under pressure, where she, literally, said: Stand by your man. Even if he porks your best friend.
Here, she says: forgive Mama everything, her alcoholism, her mistreating of her own family, her lovelessness during Siddalee's childhood. Because of that "dark secret" (pathetic, really), that only lasted a few months.
But we saw it coming, already at the end of Thelma & Louise, didn't we? Girls/women should either put up, shut up - or die!
Disgusting movie.
Here, she says: forgive Mama everything, her alcoholism, her mistreating of her own family, her lovelessness during Siddalee's childhood. Because of that "dark secret" (pathetic, really), that only lasted a few months.
But we saw it coming, already at the end of Thelma & Louise, didn't we? Girls/women should either put up, shut up - or die!
Disgusting movie.
These girls had a strange club going
helpless_dancer6 February 2004
Better like lots of flashback because this film is full of it as it bounces back and forth over several decades. The viewer must stay the course to find the secret of the sisterhood and why one of the girls grew up skewed off center causing years of grief for her entire family. A resounding "yes" to this one.
Ya-Ya?
rosscinema24 July 2003
This film goes into the category of "Chick-Flick" but there are some "Chick-Flicks" that are very well made. Unfortunately, this is not one of those. Story starts out with 4 girls in the woods about 50 years ago who invent a club just for them called..Oh, you know. Well, forward ahead to modern day and we see Sidda Walker (Sandra Bullock) who is a successful playwright and she gives an interview to Time magazine and says her childhood was difficult. The article comes out and Sidda's mother Vivi (Ellen Burstyn) reads it and is furious and writes her out of her will and tears up her photo's and acts very melodramatic. The rest of the "Ya-Ya's" are Teensy (Fionnula Flanagan), Necie (Shirley Knight) and Caro (Maggie Smith) and they travel to where Sidda lives and spike her drink and somehow get her back to Louisiana but don't tell Vivi that they have her. Well, she finds out from Sidda's fiance' Conner (Angus Macfadyen) that they have her but she is not allowed to see her. While at their place Sidda looks at their old scrapbook and then the film uses flashbacks to view several events including why Vivi was a difficult mother and her bout with depression and being hooked on pills. This film is the directorial debut of writer Callie Khouri who wrote the screenplay for "Thelma and Louise" and she displays tremendous patience in her storytelling and the film goes on way to long. The characters all play Southern Belles and there are times during the film that it is difficult to understand exactly what they are saying. Smith is an English actress and her Southern accent is just not believable. As I watched this film I kept waiting for the big scene that is suppose to tell us about Vivi but it never really comes because we already know in advance about her troubles and yet the film is still a solid two hours long. James Garner plays Shep and the actor that plays him as a young man appears to be a good foot taller then he is. I didn't hate this film because with a great cast like this it would be impossible. The most effective scenes in the film come from Ashley Judd who is suppose to be a young Vivi and although I'm not convinced of how good of an actress she is, she is good in this film. This film could have benefited from more editing and more realistic dialogue. Great cast tries hard but except from a few scattered moments this is a big disappointment. "Ya-Ya"!
Excellent is an understatement
PsychicStar13 October 2002
Excellent is an understatement. The movie, which I saw yesterday, was exactly like the book, which I read a few months ago. The actors captured the characters perfectly. The story was moving, powerful and heart-warming. It makes you feel sad, then happy, then sad and then happy again. Maggie Smith was hilarious as Caro and Ellen Burstyn was outstanding as Vivi Dahlin'. Ashley Judd played the part of young Vivi brilliantly. It's probably her finest performance yet. All in all, the movie was wonderfully made and didn't deviate from the book, like so many films do. You HAVE to see this film.
Time line skewed
mnladydiana15 October 2005
The skewed time line is what kept me from enjoying this movie more. Siddel's childhood had to be in the 1950's, which would mean that Sandra Bullock was playing a woman about 50. Nothing in the movie (look at the way Sandra Bullock was dressed and her hair) hinted at the present time being in the 1980's. Other than that issue, this was a good movie. I loved Siddel's boyfriend's frustration with his soon to be in-laws, he should have gotten a larger role. James Garner is always great, but unbelievable that any man could live with a wife like his all those years and come out of it with his mild demeanor. In reality he would either be a henpecked shadow of a man, beaten down, or he would be as bad as his wife.
Saccharine and banal
FilmOtaku26 August 2003
This movie has been on the pay channels so long and its mere presence on my digital cable menu has been an irritant for months. So I figured that maybe if I actually just watched it, it may go away.
Hopefully my sacrifice will benefit the greater good because it was such a lame piece of celluloid I was wishing for any kind of interruption to put me out of my misery. Unfortunately, I didn't get it so suffer I did.
This is a classic `chick flick' in the spirit of Fried Green Tomatoes, only it wasn't remotely clever or endearing. Sandra Bullock whines, throws tantrums and sulks throughout the film while `learning about why her mother is the way she is'. Ellen Burstyn, who plays her mother, is grossly underused as is the fantastic Maggie Smith. The entire film was embarrassingly predictable, and when I presume I was supposed to go, `Awwww' with a tear in my eye and clapping my hands with glee I was looking around for a receptacle.
Female empowerment? No. Waste of time? Yes.
--Shelly
Hopefully my sacrifice will benefit the greater good because it was such a lame piece of celluloid I was wishing for any kind of interruption to put me out of my misery. Unfortunately, I didn't get it so suffer I did.
This is a classic `chick flick' in the spirit of Fried Green Tomatoes, only it wasn't remotely clever or endearing. Sandra Bullock whines, throws tantrums and sulks throughout the film while `learning about why her mother is the way she is'. Ellen Burstyn, who plays her mother, is grossly underused as is the fantastic Maggie Smith. The entire film was embarrassingly predictable, and when I presume I was supposed to go, `Awwww' with a tear in my eye and clapping my hands with glee I was looking around for a receptacle.
Female empowerment? No. Waste of time? Yes.
--Shelly
viewing through a testosterone filter
boude17 June 2002
`The Divine Secrets of the Ya-Ya Sisterhood' is about a mother/daughter conflict and then friends come to the rescue. A simple plot about some of our society's unimaginably complex unwritten and unspoken rules.
Ya-Ya is a wonderful cinematic experience. The acting and dialog are absolutely first rate and every major role is virtually perfect. They will be throwing darts at the cast credits to pick award winners. The movie is worth the price of admission just to see Maggie Smith perform even when she has no dialogue.
The movie's most remarkable aspect is what happens when it is viewed through a testosterone filter. It is illuminating to look at the IMDB voting demographics. One quarter of the males voting on this movie have given it a `1' out of 10 while only about 3% of the females gave it a `1'. Considering that there always appears to be a 3-5% background noise on any voting this an astounding gender discrepancy. As a 56 year old male it has only been in the last decade that I've had any inkling of the intricacies of female interactive dynamics. I suspect that puts me ahead of the curve as far as males go. As a society we indoctrinate our young females into the issues of the emotional power struggle, the dynamics of the `pecking order', and day-to-day collegial help and support at a level far removed from that which most males experience. I won't argue whether or not this is sexist but I believe the observation to be valid. This movie deals with these issues and, as such, I suspect the fundamental substance of the movie is illusive for much of the male audience.
At its heart this is not a chick movie. A `chick movie' is about things that female moviegoers like. This movie is about what it is to be raised a female in our society. Ya Ya 9/10
Ya-Ya is a wonderful cinematic experience. The acting and dialog are absolutely first rate and every major role is virtually perfect. They will be throwing darts at the cast credits to pick award winners. The movie is worth the price of admission just to see Maggie Smith perform even when she has no dialogue.
The movie's most remarkable aspect is what happens when it is viewed through a testosterone filter. It is illuminating to look at the IMDB voting demographics. One quarter of the males voting on this movie have given it a `1' out of 10 while only about 3% of the females gave it a `1'. Considering that there always appears to be a 3-5% background noise on any voting this an astounding gender discrepancy. As a 56 year old male it has only been in the last decade that I've had any inkling of the intricacies of female interactive dynamics. I suspect that puts me ahead of the curve as far as males go. As a society we indoctrinate our young females into the issues of the emotional power struggle, the dynamics of the `pecking order', and day-to-day collegial help and support at a level far removed from that which most males experience. I won't argue whether or not this is sexist but I believe the observation to be valid. This movie deals with these issues and, as such, I suspect the fundamental substance of the movie is illusive for much of the male audience.
At its heart this is not a chick movie. A `chick movie' is about things that female moviegoers like. This movie is about what it is to be raised a female in our society. Ya Ya 9/10
Fun and Touching Chick Flick
noralee6 December 2005
Despite the mediocre reviews, I went to see "Divine Secrets of the Ya-Ya Sisterhood" to see what visuals go with T. Bone Burnett's latest rootsy soundtrack and to support a woman director, Callie Khouri, as she had such a tough time getting a green light.
I guess because I had low expectations, I really enjoyed this estrogen-fest. The Old Broads are relaxed and just having fun, Sandra Bullock is cute, and Ashley Judd gets to sparkle and emote. Ellen Burstyn, in particular, gets to be much livelier than in the TV series "That's Life," and there are similar body language flashes by both where you can think Judd is the younger Burstyn.
I could very much relate to the mother/daughter issues from both sides of the parental divide, so, yeah, I teared up several times. It reminded me a lot of "How To Make An American Quilt." I haven't read the books this is based on (one of them has been sitting on my book shelf) so I don't know if they explain some holes in the plot -- like where are Bullock's siblings? Wasn't she close to her mom's friends' kids like siblings, so where are they? And why are the men they attract just so darn nice and cuddly?
Burnett's musical choices, some new, some covers, some old, some archival, are charming, aided by the coincidental Louisiana setting; particularly touching is use of Richard and Linda Thompson's "Dimming of the Day."
(originally written 6/6/2002)
I guess because I had low expectations, I really enjoyed this estrogen-fest. The Old Broads are relaxed and just having fun, Sandra Bullock is cute, and Ashley Judd gets to sparkle and emote. Ellen Burstyn, in particular, gets to be much livelier than in the TV series "That's Life," and there are similar body language flashes by both where you can think Judd is the younger Burstyn.
I could very much relate to the mother/daughter issues from both sides of the parental divide, so, yeah, I teared up several times. It reminded me a lot of "How To Make An American Quilt." I haven't read the books this is based on (one of them has been sitting on my book shelf) so I don't know if they explain some holes in the plot -- like where are Bullock's siblings? Wasn't she close to her mom's friends' kids like siblings, so where are they? And why are the men they attract just so darn nice and cuddly?
Burnett's musical choices, some new, some covers, some old, some archival, are charming, aided by the coincidental Louisiana setting; particularly touching is use of Richard and Linda Thompson's "Dimming of the Day."
(originally written 6/6/2002)
In a league of it's own, and not a good one.
rfsquirrel1 June 2002
This film is not in the same league as Callie Khouri's "Thelma and Louise", "Fried Green Tomatoes" or "Steel Magnolias". It is really slow, especially after the first hour, and even with some great actresses, I found myself looking at my watch, just waiting or it to come to a very predictable climax. And then it had an anti-climax, and then another anti-climax. Even though i did not read the book, it had to be far better than this film. Sorry, i wanted to like it, but just couldn't. It will probably make some money with marketing targeted to devotees of the book, but they too might be disappointed.
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