While Eva's divorce has proven amicable, Marianne has nothing but bitterness toward her ex. Marianne's vitriol begins to poison the well for Eva, causing Eva to view Albert in adverse ways she wouldn't have otherwise. Eva mistakes Marianne's intelligence for wisdom (when it's actually obnoxious) and begins to pull back in passive-aggressive ways, leaving Albert confused, hurt, and played as a fool.

This dynamic not only drives the dramatic stakes but, more importantly, gives Eva complexity. We root for her even as she does some unlikable things, making choices that will break trust. But we empathize because the root of those bad decisions comes from the need to guard her heart. The implicit thesis here is that we can end up protecting ourselves too much, from people who don't deserve our walls and may actually be the ones we should be letting in. And when we mitigate risk to the extreme, it's a sure sign that we’ve never really healed from our past.

Did I mention all this is funny? Holofcener floats through these murky waters with a natural buoyancy, somehow keeping an overall light tone while maintaining an integrity to the film's relational conflicts. She accomplishes most of this through her cast. Together, they find a sympathetic humor in awkwardness, selfishness, impatience, and even deceit. Holofcener allows her leads, each of whom forged two of TV's most iconic characters, long overdue opportunities to show their range in a feature film.

Beneath her boisterous persona, Louis-Dreyfus shows a vulnerability – even fragility – we've not seen from her before. She's broken, we sympathize, but in protecting herself she's also hurting the people who matter to her. Gandolfoni is a humble softie, the complete opposite of his famous alter ego Tony Soprano. He gives a beautiful swan song to a career cut short, and makes his now-lost talent all the more appreciated. The two share a great chemistry, one that has an ease with awkwardness; a lack of pretense that comes with age.

All of Eva's poor decisions are a result of the fact that while she's moved on from her first marriage, she has never really healed. Enough Said shows us that you have to be willing to be hurt, or else your self-protective instincts will eventually hurt others – especially the ones you love. And when trust is broken, sincere words are no longer enough; only time and actions are.


  • Drugs/Alcohol Content: Wine and champagne are casually consumed in a few scenes.
  • Language/Profanity: Four S-words, two B-words, an H-word, two uses of the Lord's name in vain. The B-word for a male erection is used three times, and two other penis references as well. The term "dyke" is used as an insult.
  • Sexual Content/Nudity: No nudity and little sexual content, but several discussions about sex – both between adults and between teenagers. Teens discuss having sex, including threesomes. Discussions of teens losing virginity; one adult affirms it, another does not. Scenes of adults kissing. Adults in bed together (naked under the covers, but not seen). Sex between adults is attempted once, under covers, but awkwardly. Adults discuss their sex lives. Scenes of massage therapy, with people being massaged while naked (but covered), massaging naked backs. One man's groin bulge seen underneath a blanket while being massaged.
  • Violence/Other: None, although people do speak to each other with malice and intent to hurt.

Publication date: October 4, 2013