An aging womanizer who never dates women over 30 is astonished to find himself drawn to the mother of his latest nubile tootsie.

CAST: Jack Nicholson, Diane Keaton, Keanu Reeves, Amanda Peet, Frances McDormand, Jon Favreau, Nichole Hiltz

DIRECTOR: Nancy Meyers

"In the gift-wrapped role of divorced, middle-aged famous playwright Erica Barry, Keaton glows with the beauty of a mature, self-aware woman…what woman wouldn't want to be Keaton, all sexy, funny, tender, quick, and never more charismatic in her animated access to her own feelings? And what man, of any age, wouldn't want to be with her?…‘Something’ says nothing particularly pithy about the vulnerability of aging eyes dependent on reading glasses or about aging libidos grateful for Viagra. But every moment spent in the company of Keaton is such a joy that the whole is more delightful than the sum of the formulaic ingredients." --Lisa Schwarzbaum, Entertainment Weekly

"Diane Keaton is so rarely in movies anymore that seeing her in even the half-baked ‘Something’s Gotta Give’ is a blessing…Except for briefly in ‘Reds,’ Keaton and Nicholson have never worked together, and, in a sense, they still haven’t. They look great side by side, but Meyers puts them through so much middling slapstick it’s like they’re auditioning for a Fox sitcom…yet, Keaton at times manages to convert Meyers’s penchant for the obvious into something truly funny…Even in a piffle like ‘Something’s Gotta Give,’ Keaton reminds us of her uncanny ability to inhabit her characters’ knockabout emotions…Nobody can be grave and goofy all at once like Diane Keaton. In these fractious times, it’s the perfect combo for a modern heroine." --Peter Rainer, New York Magazine

"Diane Keaton, looking smashing at fifty-seven, lands her sexiest, wittiest role in years as Erica Barry, a divorced playwright who has learned to do without men. Keaton nails every laugh and nuance in this tart, terrific romantic comedy from writer-director Nancy Meyers. She steals your heart and the movie. It's a pleasure to watch her co-star and pal Jack Nicholson hand her the show…in an era of dumb farce, ‘Something's Gotta Give’ is something special." --Peter Travers, Rolling Stone

"The harder Erica cried, the harder the audience laughed, which I might have found disturbing if I had not been laughing so helplessly myself. This mirth was not cruel or derisive; it was instead an odd but nonetheless apt measure of the audience's sympathy and affection for Erica and a tribute to Ms. Keaton's unparalleled comic skill. Nobody else working in movies today can make her own misery such a source of delight or make the spectacle of utter embarrassment look like a higher form of dignity…Mr. Nicholson has the gentlemanly grace to step aside and let Ms. Keaton claim the movie. She in turn brings out the best in everyone around her." --A.O. Scott, The New York Times

"To complain that Nicholson is playing ‘himself’ -- or that Keaton is also playing a character very much like her public persona -- is missing the point. Part of the appeal depends on the movie's teasing confusion of reality and fiction…They bring so much experience, knowledge and humor to their characters that the film works in ways the screenplay might not have even hoped for." --Roger Ebert, Chicago Sun-Times

"Though the part was written for Keaton, it seems to call for a Jane Fonda or Sigourney Weaver or Meryl Streep. But if Keaton is miscast—or misdirected—she has wonderful moments once Erica’s defenses come tumbling down. Bursting into tears of joy, relief and gratitude after so many years without sex, she’s heartbreakingly vulnerable…Meyers drags the movie out too long (two hours plus)…Yet the movie, which ricochets between farce and poignancy, casts just enough romantic pixie dust to leave you smiling." --David Ansen, Newsweek

"Its lack of cosmic weight aside, the film Meyers has fashioned is generally quite amusing, with a brilliant cast…still, as much fun as it occasionally is, there's a thin movie desperate to get out of this very fat movie. Why does Nancy Meyers make such long movies?…the denouement, in Paris, could have been wrapped up in four minutes instead of 10. Billy Wilder would have done it in two, the great Lubitsch in 30 seconds." --Stephen Hunter, The Washington Post

"Nobody does lovable flibbertigibbet better than Diane Keaton…But Keaton's overamped girlishness, and the adolescent shenanigans she engages in, make a mockery of this overlong romantic comedy's stance as a celebration of mature love. No matter how many times her successful, middle-aged playwright, Erica Barry, is described by others as ‘flinty,’ ‘formidable’ – ‘macho,’ even -- her giggles and blushes and operatic wails demonstrate otherwise…The first half of this frothy movie is a lark…But it's all downhill from there." --Megan Lehmann, The New York Post

"Diane Keaton partially revisits her Oscar-winning neurotic ‘Annie Hall’ performance, albeit this time better dressed and less likely to say things like ‘la-de-da’… It's a lovely portrait of an older woman reawakened…For the film's first hour, Meyers' dialogue sparkles; it's sheer bliss to watch these two seasoned performers wrap their lips around those sweet nuggets filled with laughter…Unfortunately, the plot soon runs out of steam. Not only does Meyers add on increasingly ridiculous plot twists and epilogues, but she also clocks the whole thing in at just over two hours." --Jeffrey M. Anderson, The San Francisco Examiner

"It's so delightful to see Diane Keaton back on top that it's easy to brush aside the limitations of the midlife romantic comedy ‘Something's Gotta Give’…Keaton gets star treatment she hasn't enjoyed since her collaborations with Woody Allen… and she looks better in her nude scene here than in her last one, 26 years ago, in ‘Looking for Mr. Goodbar’…the movie is sitcom material more than it is the screwball comedy it wants to be. It is far too long and unevenly paced, despite its many tart one-liners. And the ending is a cop-out." --Jami Bernard, The New York Daily News

"As Erica Barry, a successful divorced playwright in her late 50s, Keaton is not only funny, she's grounded, without a hint of the old Annie Hall neurasthenic dither…for most of the film, she's dry, warily defended, and fantastically articulate. A revelation. The movie itself reveals nothing, but it's entertaining…I love Nicholson here because he lets Keaton take the movie—and his relative reticence is very attractive." --David Edelstein, Slate

"…as removed from everyday reality as most Hollywood fantasies…Meyers's latest is worth seeing for its offbeat story, its tantalizing settings, and most of all, its spot-on acting, especially by Keaton and Nicholson, whose amazing chemistry doesn't quit for a second." --David Sterritt, The Christian Science Monitor