It’s probably not the best sign when a film’s opening date gets pushed back by a studio. And So It Goes, the latest comedy from Clarius Entertainment and acclaimed director Rob Reiner, was my first encounter with such a scenario involving a film I was reviewing. There’s a scene toward the film’s end in which Michael Douglas’ character tells Diane Keaton’s character that something had gone “less than he had hoped for, but better than he expected.” Unfortunately, I’d have to say the same expression applies to And So It Goes for me – it was less than I had hoped for, but better than I expected.

As a fan of Rob Reiner’s previous work, I had high hopes. However, I knew from watching the previews, And So It Goes was not going to be another unexpected gem about life, love and relationships like When Harry Met Sally… or as hilarious as the irreverent This Is Spinal Tap. It looked like a run-of-the-mill, romantic comedy – one that is quickly forgettable when the discerning moviegoer is bombarded with countless others of the same caliber. I don’t think my initial assessment was very far from the mark, but I did enjoy watching it unfold a little more than I had expected.

And So It Goes stars Michael Douglas as cantankerous realtor Oren Little, who is the equivalent of a modern-day Ebenezer Scrooge. He doesn’t exactly mutter “bah, humbug” to passersby on the street, but he is every bit as selfish, rude and thoughtless of others around him. Oren is in the process of trying to sell his elaborate $8.5 million mansion so that he can move far away and retire in peace and solitude when life deals him a surprise. Apparently, his estranged son Luke (Scott Shepherd) is about to go to jail and he has a 9-year-old daughter named Sarah (Sterling Jerins) in need of a guardian for the next 9 months (6, if he gets out early on good behavior).

Oren hasn’t seen his son since the death of his wife at least a decade prior. The two don’t get along because Luke’s past struggles as a drug addict make Oren feel like he wasn’t a good enough father. Oren strikes me as the type of person who just can’t deal with being a failure. Only the finest homes, cars, clothes and women will do for this type of man. Although he repeatedly tells him “no,” a desperate Luke deposits Sarah and a dog on Oren’s front doorstep anyway.

At first, Oren tries to pawn the little girl off on his neighbor Leah (Diane Keaton) until he can locate the child’s mother. Leah is a fellow widower who never had any children of her own, but it’s more than obvious that she is good with children and understanding their needs. She seems happy enough to be a “makeshift Grandma” for Sarah, but she encourages Oren to spend more time with her as well. Little by little, Oren discovers being a Grandpa isn’t all bad, and he develops a natural bond with Sarah, as well as a stronger, more romantic, bond with Leah. He manages to rejuvenate Leah, offering her advice for her lounge singer act and landing her a better-paying job at a club run by Frankie Valli in an unexpected, fun cameo. In return, Leah and Sarah rejuvenate the caring side of Oren’s personality that he long shut off after dealing with his wife’s illness, care and eventual death.

One thing this film proves is that Diane Keaton is an ageless beauty. She really shines in her role, especially when you see her perform on the stage. She always manages to look elegantly radiant and her singing voice is still as pleasant as ever, especially when she sings “The Shadow of Your Smile.” There is good chemistry between her and Michael Douglas, although the real heroes of the film for me were Sterling Jerins and Frances Sternhagen, who plays Oren’s feisty business partner Claire. Sterling lights up any scene she’s in due to her adorableness, while Frances interjects most of the film’s best one-liners. In a film in which I felt much of the humor falls flat, Frances was a welcomed sight for sore eyes.

If you’re looking for a sappy comedy to help you better understand the inner dynamics of what it means to be a family, then maybe this one is for you. However, I’d wait until it streams on Netflix or cable TV. Seriously, the “woman goes into labor at home, who will possibly deliver this baby?” shtick is getting old. And that had to have been the most unbelievable birthing scene I’ve ever witnessed. It was ridiculously clean, but perhaps that’s a metaphor for this film. It seemed to be trying too hard to deal with deep issues involving life, love and relationships but somehow managed to come out more than a little shallow. I guess I just hoped for a little more from Rob Reiner.

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