A plot twist about halfway through is initially exciting because it actually progresses the plot: Gary discovers that Anna is not only a girl in his dreams, but actually a real person, a model named Melodia (whom Paul conveniently is able to track down within a day). Then, of course, there's the scene in which Gary goes out with her, realizes she's not the same as Anna, and creeps her out when he tries to get her to be.

That's cool and all, but it doesn't go anywhere, either. Well, that's not entirely fair; I imagine what meeting Melodia is supposed to do, in the screenplay's logic, is make Gary realize that he shouldn't be trying to live in a dream world and should instead fight to make his relationship with Dora work again. But that's the problem: he shouldn't. Dora is selfish and smug and dismissive. It's like if Titanic had ended with Kate Winslet realizing her evil fiance was her one true love.

I really hate to even make this connection, but it's not a secret that The Good Night was written and directed by Jake Paltrow, Gwyneth's brother, who's new to the movie business. I have no problem whatsoever with somebody using his family connections to help his film get made; no doubt Gwyneth's involvement in the project helped inspire interest from financers and other cast members. But I do have a problem with a movie being made that's not worth making. The script was not at the quality it should've been, and for a movie about dreams, the direction and staging are painfully dull.

Movie Grade: C-

Synopsis:

Martin Freeman plays a washed-up pop star who writes ad jingles and suffers a midlife crisis. Cruz plays the object of his romantic interests and DeVito plays a dream doctor who tries to get him back on track.