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“But it felt exactly like love, like a future with plans.

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This plot develops with all the imagination of a flow chart.

Meyer (who also did remakes) knows exactly what each scene is supposed to do and sends loud enough signals that everyone in the audience knows, too.

What makes Keaton's daffy performance here disconcerting is that, according to the movie, this is not at all who she is supposed to be.

Again and again, characters in the film refer to her strength, her independence, her decisiveness.

To celebrate her 70th birthday, here’s a look back at a career full of choice performances: some wacky, others fearless, all Keaton-esque.

I liked that.” Later changing her name to Diane Keaton, the Oscar-winning actress has had a varied career, but that buoyant vibrancy she describes in Storm could just as easily apply to her body of work.

The play she writes during the course of the movie (which we are, of course, told is "wonderful," "totally hilarious," "the best thing you've ever written") consists exclusively of verbatim transcriptions of her interactions with Nicholson, none of which were particularly funny the first time around.

It's more like the pitch for a movie, not a film but a project, the brainstorm of an agent-you know, the astronaut. He's done with Shirley Mac Laine and back to dating young girls.This, despite the fact that she spends half the movie giggling and the other half sobbing.Nicholson, apparently confusing her with Katherine Hepburn, tells her she's "flinty," "impervious," and "formidable." Flinty?When he recovers, his young doctor (Keanu Reeves) releases him from the hospital but only on the condition that he remain "nearby"--i.e., at Keaton's house.Mc Dormand and Peet scram almost immediately, leaving the two antagonists alone to fight, complain, fall in love, split up, fight, complain, and fall in love again.The problem is that all too often Meyer uses this collective knowledge as an excuse not to have the scene actually what we all know it was supposed to do.