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.
Charles Bronson may have passed away but the spirit of his Death Wish films lives on -- albeit in an absurdly twisted fashion -- in F. Gary Gray’s (The Italian Job Be Cool) gleefully over-the-top revenge thriller Law Abiding Citizen.
Taking a welcome break from his recent run of lame chick flicks Gerard Butler (300 RocknRolla) stars as Clyde Shelton a loving husband and father whose placid suburban existence is upended when a couple of mangy meth monsters burst into his home. Not content to merely burglarize the place they proceed to butcher Clyde’s wife and daughter as he lies in a heap on the floor periodically losing consciousness after being stabbed several times.
The killers are soon apprehended and a grieving Clyde who somehow managed to survive the whole ordeal eagerly awaits swift retribution from the justice system. Hoping for the grim solace that only the death penalty can provide he places his faith in Nick Rice (Oscar winner Jamie Foxx) the hotshot district attorney charged with prosecuting the case to do the right thing and see to it that the two killers fry.
Nick however has other plans. Seeing the case as anything but open-and-shut and fearful that a not-guilty verdict in such a high-profile trial could derail his ambitious career plans (he sees himself as a Giuliani in the making) he opts to strike a plea deal: One man gets a death sentence while the other gets a mere 10 years in return for testifying against his cohort.
Chastened by the unseemly bargain Clyde takes matters into his own hands delivering his own uniquely painful brand of vigilante justice to the sinister men who destroyed his family. But he doesn’t stop there not by a longshot. His grudge extends much much further -- to the very heart of the justice system itself -- and he intends to bring the entire corrupt apparatus down even if he has to do it while locked up inside a jail cell. Which is where he ends up after police nab him for personally imposing the death penalty on the convicted killers.
Indeed Clyde proves to be something of a savant when it comes to killing people in creative cinematic ways employing exploding cell phones remote-control machine guns and other methods to take out the various judges attorneys and politicians on his hit list. Most amazingly he orchestrates all of this mayhem from behind bars. Seriously this guy’s flair for novelty violence makes the Joker’s antics in The Dark Knight seem amateurish by comparison.
The task of putting an end to all of Clyde’s mayhem naturally falls on Nick. And this is where Law Abiding Citizen’s fatal flaw emerges. Whereas Gray Butler and virtually everyone else seem to enthusiastically embrace the utter ridiculousness of it all Foxx plays it determinedly straight as if he’s the only one in the movie who isn’t in on the joke. Watching his performance it’s almost as if he’s making a different film than everyone else.
The right way for Law Abiding Citizen to end is for Foxx to administer an appropriately ironic death to Butler’s character utter something like “I rest my case ” and wink at the camera as he makes his exit. (Click here to read our exclusive interview with Foxx.)
I won’t give any spoilers away but suffice it to say this is NOT how the movie ends.
Rainn Wilson trades one Office job for another as Robert “Fish” Fishman an over-the-hill 41 year-old insurance company worker who came right to the edge of eternal rock fame as the drummer of a struggling ‘80s band Vesuvius--until the other members kicked him out in order to get a record deal. Twenty years later the band has continued on to great success while Fish only manages to get fired from his latest job forcing him to move in with his sister (Jane Lynch) and family--including his nephew the nerdy Matt (Josh Gad) who happens to be a member of his own band A.D.D. Turns out the group needs a drummer and asks the long-in-the-tooth Uncle Robert to join them which he does reluctantly. Soon he is putting a soulful metal spin on their forgettable sound. The other members--Amelia (Emma Stone) and Curtis (Teddy Geiger)--aren’t too thrilled especially when he eventually makes a play for Curtis’ mom (Christina Applegate). But when he is caught rehearsing with the band in the nude (via a four-way webcam) the video finds itself on You Tube where A.D.D. suddenly becomes an exploitable phenom with the “naked drummer” as a draw. The inevitable tour leads to a climactic concert where revenge could be sweet when they share the bill with none other than--drumroll please--Vesuvius. Since Jack Black was apparently otherwise engaged Wilson gets a lucky break and turns what could be an annoying one-dimensional boob into a guy we can root for. He’s never less than believable as this aging buffoon who gets a second chance at the dream he always knew he deserved but blew 20 years earlier. Wilson playing a role not too dissimilar from his weekly gig as Dwight Schrute on The Office nicely balances the broad comedic requirements of the role with genuine pathos and a pretty good musical talent that makes the second coming of this 40-ish rock star oddly credible. It helps that he’s surrounded by an appealing cast of younger actors who make up the rest of the band. Stone (Superbad The House Bunny) is particularly appealing and completely winning. Geiger is the good-looking tortured lead singer while Gad makes us feel all the growing pains. Applegate is well cast but underused as Curtis’ mom and there are some nice--if too brief--moments from Curb Your Enthusiasm’s Jeff Garlin and the always hilarious Jane Lynch as Matt’s parents. Turning up for an ironic cameo is the original ousted drummer from The Beatles Pete Best (although the filmmakers swear this is not his story). Vesuvius is made up of comedy vets Fred Armisen Bradley Cooper and Will Arnett. but they are no Spinal Tap. Director Peter Cattaneo won universal praise and an Oscar nomination for his sleeper comedy hit The Full Monty and he’s probably got sleeper on his hand as he treads similar ground with the rags to riches scenario. He expertly displays how show business success can still come at a late age but not TOO late. Cattaneo wisely focuses on the humanistic qualities of the story blending some nice character work with the broader aspects of this School of Rock-style outing. It all could have gone south very quickly but the director keeps his cast in check and makes the story one that doesn’t ever run out of gas. This is the rare flick that both teens AND their parents will find riotously entertaining for wildly different reasons.
Holly Kennedy (Hilary Swank) doesn’t know how lucky she has it. She’s smart beautiful and married to Gerry (Gerald Butler) a passionate funny and impetuous Irishman who loves her with every breath in his body. But when that breath runs out--Gerry dies unexpectedly from an illness--Holly’s luck runs out. Barely coping her salvation arrives in the form of letters from Gerry that come to Holly in unexpected ways--letters he wrote to her before he died to help her get through the pain and move on with her life and letters that always end with “P.S. I Love You.” A saint huh? Holly’s mother (Kathy Bates) and best friends Sharon (Gina Gershon) and Denise (Lisa Kudrow) begin to worry Gerry’s letters are keeping Holly tied to the past but in fact each letter pushes Holly on a journey of rediscovery and to show her how a love so strong can turn the finality of death into new beginning for life. Tissues please! Swank will be damned if she pigeonholes herself into always playing serious women who don’t wear makeup. P.S. I Love You is her stab at romantic dramedy and while the genre may not suit her best the Oscar-winning actress still has fun playing a spirited woman who wears designer clothes cute hats and gets to make out with a strapping Irish hunk. Actually Swank gets to bed TWO strapping Irish hunks in P.S. I Love You: The first is the yummy Butler of course and the other is Gerry’s old bandmate William played by American Jeffrey Dean Morgan (who’ll be seen in the upcoming romantic comedy The Accidental Husband with Uma Thurman). Lucky girl. Butler however is the one the ladies will sigh over the most. Having already given a powerhouse performance this year as the Spartan king in 300 the Scottish actor turns the tables to show his soft underbelly as the adorably romantic and fun-lovin’ Gerry. The abs still rock though. One can easily see why Holly is such a mess after he dies. Gershon and Kudrow add some genuineness as Holly’s friends (someone please find a Kudrow a TV show) as does Bates as Holly’s hardened mother. Harry Connick Jr. however seems out of place as Holly’s would-be suitor. She just needs to stick with the Irish guys. Hilary Swank teams up with her Freedom Writers director Richard LaGravenese once again for P.S. I Love You and it’s clear they have a symbiotic relationship. Swank probably likes the way LaGravenese accentuates her best features turning her into a glam leading lady while LaGravenese obviously enjoys gazing at her through his camera lens. Unfortunately the two really haven’t found the best material. Freedom Writers is the mother of all teacher-gets-students-motivated retreads while P.S. I Love You--based on a novel by Cecelia Ahern and adapted by LaGravenese and Steven Rogers--is just pure fluff with very little substance behind it. Not that the film won't inspire some romantic feelings or work up tears but its only real strengths are: 1) the players who somehow rise about the triteness of it all especially Butler and 2) the gorgeous landscapes of Ireland which should send any woman in her right mind straight to the Emerald Isles to find her perfect man. Seriously ladies book your trips NOW.
On the one hand it’s a comedy. We meet Sarah Huttinger (Jennifer Aniston) a thirtysomething knee deep in a pre-midlife crisis with a way too patient fiancé (Mark Ruffalo) and a nowhere job. Her anxiety is only exacerbated when she visits her picture perfect family in Pasadena CA a place she’s never felt like she belonged especially after her mother died. But then it gets weirder when Sarah finds out her family was the inspiration for The Graduate. It seems Sarah’s grandmother (Shirley MacLaine) was the Mrs. Robinson and that her mother ran off with the same guy briefly right before she got married to Sarah’s dad. Sarah becomes obsessed with finding this “other” guy Beau Burroughs (Kevin Costner) believing he might be the key. He’s a key all right--to a night of drunken lust. But none of this is going to solve Sarah’s problems now is it? She’s got to find her own answers in her heart. Excuse me while I go throw up. Maybe Jennifer Aniston should just write this year off. Not only did she lose a husband to another woman she also hasn’t made very smart choices in her career. Derailed completely missed the track and now this comedy is no better suited to her talents. Aniston is much better playing sweet and quirky rather than messy and neurotic and honestly shines brighter when co-starring with strong comedic talents such as Ben Stiller (Along Came Polly) or Jim Carrey (Bruce Almighty). (That’s why we’re holding our breath for her next film The Break Up with [real-life boyfriend?] Vince Vaughn.) Shirley MacLaine making a habit out of being the best thing in an otherwise dull movie (In Her Shoes anyone?) is a hoot as grandma. Costner doesn’t look anything like Dustin Hoffman thank goodness but has zero chemistry with Aniston. And who knows what the hell Ruffalo is doing wasting his talents doing this romantic comedy crap. Just say no Mark. As a director Rob Reiner hasn’t had much luck lately either. This is the first movie he’s directed since 2003’s Alex & Emma--and we all remember what a success that was. To be fair Reiner apparently took over the reins from screenwriter Ted Griffin (Matchstick Men) who was making his feature film debut ten days into production and changed things quite a bit. That’s not surprising because Rumor quite simply lacks direction. It wants desperately to be a comedy with a hint of relationship drama but somehow misses the mark on both. Now the idea of a Graduate update is somewhat intriguing. Reminds me of Robert Altman’s The Player in which The Graduate’s original screenwriter Buck Henry pitches a sequel of sorts to a studio development exec. It’s meant to be a joke of course but somewhere in the spoof there might’ve been a sliver of mad brilliance. Too bad Rumor ruins it.