The romantic drama The Vow is not adapted from a Nicholas Sparks novel though I doubt its producers would be offended if you’d assumed otherwise. In fact I suspect they’re banking on it. The film’s stars Rachel McAdams and Channing Tatum are both recognized veterans of the Sparks subgenre – she gave us the indelible (for better or worse) Notebook while he starred in the somewhat less successful Dear John. Moreover its premise pitting love against the insidious after-effects of brain trauma may be inspired by a true story but its one-two punch of tragedy and sentiment is straight out of Sparks’ tear-jerking playbook.
It’s all there in The Vow’s opening montage which first introduces Leo (Tatum) and Paige (McAdams) two desperately smitten bohemian-artist types (she’s a sculptor; he’s a musician/studio owner) and then rudely separates them all in one slick heartbreaking sequence. There’s the meet-cute at the DMV the whirlwind courtship the quirky marriage proposal the kitschy guerrilla wedding (replete with vows scrawled on restaurant menus) and finally the brutal car accident glimpsed in agonizing slow-motion that leaves poor Paige in a coma.
When Paige awakens in the hospital Leo is aghast to discover his wife doesn’t recognize him. While her girl-next-door beauty emerged from the crash remarkably intact it seems her brain did not fare so well suffering injuries that effectively wiped out her memory of the preceding five years – a span comprising the entirety of her relationship with Leo. Her mind’s clock rewound a half-decade Paige assumes the identity of Paige from five years prior like a rebooted computer whose owner neglected to backup the hard drive in a timely manner.
It soon becomes achingly apparent that the Paige from five years prior was markedly different from the Paige we met in the opening credits: a superficial sorority girl on track for a law degree averse to city-dwelling partial to blueberry mojitos cowed by her domineering father (Sam Neill) and engaged to a corporate douche (Scott Speedman). Upon emerging from her slumber she finds the remnants from her old life all-too-eager to re-assimilate their lost lamb into the Bourgeois Borg even if she does have one of those icky tattoos.
In danger of losing the love of his life to her former one a heartbroken Leo resolves to win back Paige even if it means starting from scratch and wooing her all over again. Aligned against him are the grim realities of brain damage as well as Paige’s family and former fiancé whose cult-like efforts at re-education seem ever-creepier the more I contemplate them. (There are unintentional echoes of Total Recall in Paige’s arc which I suppose would make Leo her Kuato.)
Cultishness and Total Recall allusions notwithstanding The Vow flirts with a more unsettling notion one seemingly at odds with the romantic drama mission implying that what we know as love is simply the product of our memories tenuous and transient and not the profound transcendent bond that Hallmark promised.
Fear not: The Vow is by no means a dense metaphysical treatise. Director Michael Sucsy (Grey Gardens) and is far more concerned with heart-tugging than thought-provoking. To that end he steers admirably clear of grand epiphanies and other moments of high melodrama preferring instead to apportion the sap relatively evenly throughout the story. The strategy is less manipulative but also less impactful. The script from Abby Kohn Marc Silverstein and Jason Katims can’t maintain the energy of its opening act and apart from its brain damage twist is a tediously familiar romantic-drama slog. I found myself secretly rooting for some old-fashioned emotional overkill if only to alleviate the boredom.
The two leads for their part form a charming pair. McAdams is as endearing as ever working well within her comfort zone and equally likable Tatum bears his character’s anguish ably even if he’ll never be credible as a bohemian-artist type. Their easy appealing chemistry might be enough to satisfy the Sparks-philes but it’s not enough to sustain the film.
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Click here to watch our hard-hitting exclusive interview with The Vow stars Rachel McAdams and Channing Tatum.
Here’s a fantastic idea: take dating advice from someone who married Tom Green. This should work out wonderfully.
Despite her dating history, Drew Barrymore is returning to the director’s seat for How To Be Single. Her directing debut, Whip It, was a decent movie and one of the better female centric films of the past decade. How To Be Single sounds like shit though. Following in the footsteps of Valentine’s Day and He’s Just Not That Into You, the film will follow, over the course of ten years, a group of New Yorkers as they navigate the dating world. Oh goody, another ensemble romantic comedy. It’s always so refreshing to see ten one-note characters in place of one really well-defined character that has normal human motivations. Why actually develop a character when you just tell an actor “you’re the greedy one?”
Anyway, HTBS is based off the novel of the same name by Liz Tuccillo. She has one other book credit to her name, and shocker, it is He’s Just Not That Into You. Barrymore produced that film as well and the writers, Marc Silverstein and Abby Kohn, are penning HTBS too. Oh Drew, I really do appreciate you directing this movie, but we still won’t forget you dated a drummer and the “I’m a Mac” guy. Nice try though.
Source: Hollywood Reporter
Drama is a hard sell these days. It often takes a big name, or in some cases more than one, to get people in the theaters to see a traditional romance picture or a cerebral narrative. Spyglass, the production company behind last year's G.I. Joe: The Rise of Cobra, Star Trek and Invictus, understands this and has acted accordingly to get their wrenching romantic drama The Vow made.
The Hollywood Reporter scoops that Channing Tatum and Rachel McAdams have committed to the film, bringing much needed star power to a movie that otherwise might never have gotten off the ground. They'll help director Michael Sucsy tell the real-life story of a newlywed New Mexico couple who end up in a car crash. The wife is put in a coma, where she is cared for by her devoted husband. When she comes to, without any memory of her husband or their marriage, the husband woos her and attempts to wins her heart again.
The trade notes that the project, written by Sucsy, Abby Kohn and Marc Silverstein, has been in development for over a decade and at one point had Julia Roberts set to star. Today's audiences will more likely flock to see heartthrob Tatum and it-girl McAdams in the film than Roberts anyway, so everyone's a winner this time around.
Still, production won't begin until both actors finish up their current respective workloads: Midnight in Paris and Terrence Malick's upcoming romance film for McAdams and Cheaters for Tatum.
Though Garry Marshall hasn’t made a decent flick since 1990’s Pretty Woman he still apparently wields a not inconsiderable amount of clout in Hollywood. What else could explain the all-star ensemble of actors who gathered for Valentine’s Day? Among the major names found probing the turgid depths of the nearly 80-year-old director’s insipid rom-com are Julia Roberts Anne Hathaway Ashton Kutcher Jessica Alba Jamie Foxx Jessica Biel Taylor Lautner and various other prominent actors who either owe favors to Marshall or whose incriminating photos he holds in his possession.
A slice-of-life tale unfolding in Los Angeles over the course of a single Valentine’s Day the film chronicles the romantic adventures of a diverse cast of characters at various stages of relationships and encompassing virtually every conceivable demographic category. Their ages backgrounds and perspectives often dramatically differ but they each share one trait in common: Almost without exception they are all ceaselessly painfully disastrously unfunny.
Some temper their dishumor with a dose of the annoying like Kutcher whose dopey florist Marshall unwisely chose to anchor Valentine’s Day’s story around. Others add a dash of the preposterous like Roberts dressed in military fatigues in a laughable attempt to play a U.S. Army Captain on leave from the front. Still others add cloying sentiment to the mix like Bryce Robinson’s lovelorn 10-year-old whose grandparents played by Shirley MacLaine and Hector Elizondo ply him with nostalgic romantic tips pre-fabricated for maximum inter-generational cuteness. Whatever your preferred method of cinematic torture may be you’ll undoubtedly encounter it in this film.
In addition to challenging the pain threshold Valentine’s Day offers a test of endurance as well its story requiring over two hours to satisfy the narrative demands of its swollen cast. If you didn’t despise Hallmark’s ersatz holiday before you certainly will after enduring this Bataan Death March of rom-coms.
Like Love Actually and any number of other ensemble romantic comedies in which we watch a starry cast navigate their way through the treacherous world of romantic relationships He's Just Not That Into You -- based on the Sex and the City catch-phrase and very loosely on the resulting self-help book of the same name -- focuses on a select group of twenty- and thirtysomethings who find love is just not easy to find and hang on to in the Internet age. Here’s the scorecard: Neil (Ben Affleck) loves his seven year live-in girlfriend Beth (Jennifer Aniston) just not enough to marry her; while Beth (Jennifer Connelly) forced marriage on Ben (Bradley Cooper) before he was ready and now he’s seriously flirting with seductress. Anna (Scarlett Johansson) who’s kinda bored with her occasional sex partner Conor (Entourage’s Kevin Connolly) who would love to get her to take him seriously. Then there’s sweet likeable and lovelorn Gigi (Ginnifer Goodwin) who hasn’t had the best of luck with men and takes advice from restaurant manager Alex (Justin Long) who constantly gives his perspective of the harsh realities of dating. Finally there’s good-natured Mary (Drew Barrymore) a newspaper ad sales exec who uses any number of new technologies to meet a man -- usually via her computer. The well-chosen cast is strong and likeable making the experience of seeing this overlong (at 129 minutes) romantic trifle enjoyable and fun. It’s great to see Connelly trying something lighter these days and as a wife whose marriage is slipping away she manages to be alternately funny and touching. Aniston scores in the teary scene department as a perpetual bridesmaid involved with a marriage-shy guy nicely underplayed by Affleck. Cooper is wryly funny in his wandering hubby role and Long’s romantic advice is dished out with sardonic style and wit. But it’s Goodwin who carries much of the load here and she’s endearing in her own way. Ken Kwapis knows his way around chick flicks having directed Sisterhood of the Traveling Pants among others and he shows he’s up to the challenge presented by the multi-character storyline – though at times it seems like he’s playing traffic cop just keeping the various parts merging into a whole that makes dramatic sense. None of it is earth-shatteringly original but as a date movie there’s more than enough to satisfy the girls -- and the guys.