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As Good As It Gets Customer Reviews (52 - 54 of 68 Reviews)

You Down With OCD? Oh Yeah That's Me!
There's a lotta bruthas out there flakin an perpetratin but scared to kick reality. This particular playa (Jack Nicholson) got the OCD chronic, yo. But what interests this G is that one of the main symptoms of OCD is recurrent, abhorrent, anxiety-provoking thoughts of doing violence to those close to you - i.e. poppin a cap in your homies, though you think this sort of thing is to-the-curb. Which is exactly what Jack Nicholson had going on in The Shining. The intrusive unacceptable thoughts are what motivate the ritualistic behaviors. In The Shining, Jack had the bad ideas, in As Good as it Gets, he's got the rituals. If you could somehow combine these two movies in your mind, you'd get a complete picture of Nicholson's mental illness.

You Can Find Romance With The Most Unlikeliest Person
This is a very sweet movie about a man. Who does not connect with other people well.
All though it does fall into the humor gender. There is a lot more in the story then that.
I don't usually like romance stories. However, this one is very good. I recommend it to any one who likes a romance movie with a little more things thrown in.

Why This Is My Favorite Movie As Of Late
This really is as good as it gets when it comes to romantic comedy! While this movie may fall into the "sappy" category for true film aficionados, it manages to mix wry humor and legitimate drama with enough sentimentality to satisfy even the weepiest movie-goers. Unlike other films of its genre, As Good As It Gets has a point - a not-so-trite main idea that is simple yet profound. The fine characterization accomplished by the writers and a superb cast (Helen Hunt; Jack Nicholson, who admittedly does not stray far from his usual character; Greg Kinnear, whose work in a supporting role underscores the film's thematic content; and Cuba Gooding, Jr.)supports the theme that threads its way throughout the plot. Simon (Kinnear), the gay next-door-neighbor artist, articulates the idea in a considerably early portion of the film: "Have you ever looked at somebody who doesn't know they're being watched?...This flash comes over them...it's nothing external, because that hasn't changed. If you look at someone long enough, you discover their humanity."
This film is comforting to some because it glorifies the individual; it illuminates the humanity, and, ultimately, the beauty of everyday characters. (While the obssessive-compulsive romance writer may not be the most typical personality, many people can probably identify with individual crises, big and small, of Carol and Simon.) In the final scene, Melvin (Nicholson) gives a reminder of Simon's earlier reflections after singing the praises of Carol the waitress (Hunt): "I might be the only one who sees that you're the most wonderful woman in the world." It becomes clear that Melvin loves Carol for, above all, her humanity. The significant age gap between the two main characters seems to be bridged by this understanding.
Still wary of AGAIG because of its romanticomedy label? Fear not. Despite its pathos, it at least offers a few laughs and a generally pessimistic protagonist to amuse the cynics.

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