Laurel Canyon isn't really a classic, but it's one of those films that holds such a voyeuristic allure that it's not likely to bore you. The great Frances McDormand plays kind of a loopy, but successful record producer who enjoys the indulgences that come along with the job - it's obvious she's really has a lot fun in this role. You get the impression she'd be a lot of fun at a party.

McDormand however, has a son (Christian Bale) who is her polar opposite. An up-tight young psychiatrist who is recently engaged to Kate Beckinsale, who is also finishing a PhD herself. The film begins as the preppy Bale and Beckinsale set out on a journey to L.A. where Bale is set to begin his career and of course, for Mom to meet his bride-to-be. As far as Bale is concerned his Mom is a nut and that's pretty much the picture he's painted for Beckinsale.

Strangely they decide to move in with her, (at least until they can get on their feet) which initially does not go over well with Beckinsale. She had planned to work on her dissertation during the visit, only to find that a band (real life Folk Implosion) is presently recording in the home -leaving precious few moments of silent repose. Meanwhile Bale is hardly ever around because of the demands of the job. Soon Beckinsale (like a timid woodland creature) is drawn (in some measure by loneliness) to the decadence taking place right under her nose. She soon warms to the irresistible Mommy McDormand and they begin to bond a bit. Before long she starts to hang out, at kind of an arms length understanding.

All this goes on without Sam really noticing because he's got his own distractions at work. Not only are the mental patients a handful, but he's got a gorgeous second year resident (Natascha McElphone) who's putting the moves on him. He's tempted but resists by telling her "let's take the high road… sublimation." What a good Psychiatrist. However platonic the scene concludes it is well charged with sexual tension and is one of the stronger parts of the film where McDormand isn't in frame.

Obviously the reason to see this film is Lady Frances - certainly one of our most outstanding actresses. I liked the way she goes on about her lifestyle, her new house guests notwithstanding, unapologetically. She takes to this role like Shaqille O' Neal at a buffet. (Particularly after her rather humdrum take as the drugs-are-bad Mom in Almost Famous.) McDormand's character plays by her own rules, flies by the seat of her pants and is still out to live the Rock and Roll dream - with little concern for the consequences. Which interestingly makes her the most grounded, down-to-earth character in the film. Her son, the Psychiatrist only sees the lifestyle and not the life and fails to recognize that his mother is the best example of a self-actualized, mentally healthy person in the film. She doesn't think she's perfect but she accepts her mistakes along with her accomplishments. She may not be the ideal mom but writer/director Lisa Cholodenko wants us to see that Bale could learn a little something from her in terms of human behavior.

Writer-director Lisa Cholodenko rang the bell with her first film High Art in 1998, grabbing a spot at the prestigious Director's Fortnight at Cannes. Laurel Canyon is her second feature. In some ways this second effort takes a more predictable course than her first - which had dealt with a lesbian affair. (Laurel Canyon throws in just a dash of lesbian thrills as a late night skinny dip in the pool with the band leads to a kiss between Beckinsale and McDormand - which I would have guessed would have been worth the price of admission, but it was strangely unsatisfying. Maybe it was because I was watching it with my wife?)

Cholodenko definitely has a way with insightful and witty dialogue and with Laurel Canyon and she puts together a exotic mix of characters that make for entertaining background scenery for McDormand to chew up. Laurel Canyon provides alot of humorous jabs at the expense of the music industry, the recording process, and the strange people who inhabit the profession. It's also a film about communication and how it tends to fail us at the most important moments. As the characters attempt to reach one another, it's interesting to witness the missed cues, the ambiguous body language, the white lies and convenient versions of the truth.

Ultimately the film's big confrontations don't really hold-up well, they're telegraphed and stilted and after all no one ever doubts a son's love for his mother. Fun film, in alot of ways, but not one that you're going to leave the theater dying to discuss with your friends.