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Keeping the Faith

Keeping the Faith

Comedy · Romance · 2000

Best friends since they were kids, Rabbi Jacob Schram and Father Brian Finn are dynamic and popular young men living and working on New York's Upper West Side. When Anna Reilly, once their childhood friend and now grown into a beautiful corporate executive, suddenly returns to the city, she reenters Jake and Brian's lives and hearts with a vengeance. Sparks fly and an unusual and complicated love triangle ensues.

Movie details

Keeping the Faith

“If you have to believe in something, you may as well believe in love.”

2000 Comedy · Romance 2h 7m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Best friends since they were kids, Rabbi Jacob Schram and Father Brian Finn are dynamic and popular young men living and working on New York's Upper West Side. When Anna Reilly, once their childhood friend and now grown into a beautiful corporate executive, suddenly returns to the city, she reenters Jake and Brian's lives and hearts with a vengeance. Sparks fly and an unusual and complicated love triangle ensues.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Keeping the Faith?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Edward Norton

Written by

Stuart Blumberg

Ben Stiller

Ben Stiller

Rabbi Jake Schram

Edward Norton

Edward Norton

Father Brian Finn

Jenna Elfman

Jenna Elfman

Anna Riley

Anne Bancroft

Anne Bancroft

Ruth Schram

Eli Wallach

Eli Wallach

Rabbi Ben Lewis

Ron Rifkin

Ron Rifkin

Larry Friedman

Miloš Forman

Miloš Forman

Father Havel

Court is in session

Put Keeping the Faith on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.