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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Green Zone is a story we’ve already heard shot in a manner we’ve already seen and starring Matt Damon in a role he’s already played. Remember those WMDs that were never found in Iraq and later exposed to be the invention of a dubious and poorly-vetted informant? Remember the misguided and hideously botched attempt at establishing democracy after the fall of Saddam and the violent prolonged insurgency that ensued? If you’ve been away from the television for the past hour and somehow managed to forget any of these details Green Zone is here to remind you.
Damon plays Chief Warrant Officer Roy Miller an Army weapons inspector whose frustration over repeatedly coming up empty in his search for Iraqi WMDs leads him on a quest to track down and expose the people responsible for leading him (and us) down that infamously bogus path. Though his hand-to-hand skills are a notch below Jason Bourne’s Miller’s single-mindedness moral certainty and permanent expression of square-jawed defiance — always threatening another “How do you like them apples?” rebuke — in the face of an insidious multi-level government conspiracy are essentially equivalent to those of Damon’s Bourne trilogy soulmate.
And like Bourne his most dangerous adversary isn’t found on the battlefront but rather within the government he once served so proudly. As Miller delves ever deeper into the Case of the Faulty WMD Intelligence Clark Poundstone (Greg Kinnear) the duplicitous arrogant Defense Department bureaucrat in charge of U.S. operations in Iraq summarily relieves him of his post. (Hint: the better dressed a Green Zone character is the more sinister his ambitions.) But Miller remains undeterred and he goes rogue to locate the CIA informant “Magellan ” a formerly high-ranking Iraqi official whose supposed confirmation of Saddam’s nuclear ambitions served as the basis for U.S. invasion.
We know how the story ends. Green Zone’s pervasive overarching sense of deja vu is accentuated by director — and veteran Bourne helmer — Paul Greengrass who employs the trademark hand-held super-shakycam style which was so fresh and inventive in 2004 but now feels stale and predictable. (Admittedly my aversion to Greengrass’ approach was no doubt heightened by a previous night’s viewing of Roman Polanski’s excellent The Ghost Writer a political thriller as subtle and precise and finely tuned as Green Zone is ham-fisted and haphazard — and which also uses the phantom WMD controversy to far greater narrative effect.)
Green Zone culminates in essentially a violent footrace between Miller and the Army Special Forces as they scour a heavily-armed insurgent stronghold to find Magellan with Miller hoping to secure his potentially damning testimony before the Army can silence him for good. The climactic sequence for all I could tell was either shot in Damon’s backyard culled from Bourne trilogy deleted scenes or assembled from scattered YouTube clips. This punishingly chaotic often incoherent and ultimately exhausting approach to storytelling isn’t cinema verite; it’s dementia pugilistica.
The majesty of the Emerald Isle is on full display in Leap Year an opposites attract romantic comedy starring Amy Adams (Julie & Julia Enchanted) and Matthew Goode (A Single Man Watchmen). Director Anand Tucker (Shopgirl Hilary and Jackie) shooting entirely on location in Ireland takes us on a whirlwind tour of the country’s breathtaking landscape reveling in its fabled fairy-tale charm.
Pity then that such a magnificent setting is so mercilessly defaced by Leap Year’s unrelenting mediocrity. The film’s dubious premise testing the already loose limits of rom-com believability casts Adams as Anna a type-A career girl who flies to Ireland intending to pop the question to her feet-dragging boyfriend on February 29th aka Leap Day. Why Leap Day? Because according to some idiotic old Irish tradition that’s when women are allowed to do such things. (Click here to watch Adams herself try to explain the plot.)
Unfortunately for Anna weather problems force her plane to land far away from Dublin and her would-be fiance. Trapped in a tiny coastal town with no reliable transportation at her disposal she enlists the help of a scruffy abrasive barkeep named Declan (Goode) to drive her cross-country so she can reach her destination by the 29th. And thus begins the traditional rom-com mating ritual of sexually-charged bickering followed by moments of abrupt awkward intimacy.
While watching Leap Year I swear I could hear the Irish countryside quietly weeping as it witnessed Goode and Adams slog through the film's succession of trite misadventures the talented actors straining in vain to manufacture some semblance of romantic chemistry as an assortment of jolly Waking Ned Devine types futilely spurred them on. Oh if only Greenpeace could have intervened and put a halt to such wanton environmental desecration. It's the worst thing to come out of Ireland since The Cranberries.
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.
David Callaway (Robert De Niro) is having a tough time dealing with the apparent suicide of his wife (Amy Irving). His young daughter Emily (Dakota Fanning) also has taken her mother's death very hard retreating into her own little world. As a psychologist David decides the only way to help Emily is to move from the big city to a house in the country. Sure that kind of thing usually works like a charm. Emily does perk up a bit when she finds a new "friend " Charlie who likes to have fun and play hide and seek with her. Of course we can't actually see this new friend but that's beside the point. The imaginary Charlie is still a powerful force in Emily's life instructing her not to talk about him much and hating pretty much everyone else in her life including her dad. In short order bad things start happening--yes the family pet gets whacked--which Emily blames on Charlie. This leaves David wondering how his little girl could have turned so psychotic. But wait. Maybe Charlie isn't imaginary after all but actually a flesh-and-blood malevolent presence. Oh god do you think so?
Why you may ask would an acting icon like Robert De Niro star of such classic movies as Raging Bull and Goodfellas choose such a cheesy film as Hide and Seek? Very good question. Maybe he was drawn into the project based on the premise like the rest of us without realizing how derivative the story would get as things progressed. Of course De Niro plays the confused father--dealing with what could possibly be a demonic child--with a fair amount of finesse. But he's a pro that's what he does. Fanning (I Am Sam) too does the best she can as the sunken-eyed pasty-faced Emily. She sulks around rarely smiles and draws scary pictures of people dying horrible deaths which has now become a prerequisite for any child in a scary movie. In the supporting roles Elisabeth Shue Famke Janssen and Dylan Baker are all pretty much wasted. Shue who hasn't acted in anything major since 2000's Hollow Man makes a brief appearance as a potential paramour for David. Janssen (X-Men) playing David's colleague and Emily's confidante thinks living in isolation is a bad idea (and she's right!). Veteran character actor Baker (Kinsey) takes on the predictable role of the hapless town sheriff who never quite gets he's about to be in a world of hurt.
It is always disappointing when the promise of something potentially creepy turns out to possess the same old tired plot points and scare tactics seen countless times before. Director John Polson--best known for helming Swimfan another predictable stalker-gone-mad thriller--and novice screenwriter Ari Schlossberg don't have the necessary skills to take Hide and Seek above and beyond its conventional trappings. To its small credit the film does build a bit of tension in the beginning as David and Emily skirt around each other trying to grasp onto some kind of normalcy. Then when Emily introduces Charlie you continue to hold out hope that somehow the filmmakers will channel some of M. Night Shyamalan's aura and start really scaring the bejesus out of you. But alas it isn't meant to be. Instead you're sitting there pretty much guessing every move the film is going to make before it happens. When the twist finally comes around--you knew there was a twist right?--it doesn't really surprise you whether you've guess it or not.
Harrison Lloyd (David Strathairn) is a world-renowned Pulitzer Prize-winning photojournalist who has it all: a devoted wife two beautiful children and an illustrious career. Although his wife Sarah (Andie MacDowell) is supportive of his career she wishes Harrison would spend more time at home being a husband and father rather than gallivanting around the world taking pictures. Before long Harrison is whisked off overseas to cover bloody ethnic conflicts in Yugoslavia and is presumed dead after the Yugoslav National Army flattens the town he is in. Sarah however is convinced Harrison is still alive because "something would have broken inside if he were dead." She barricades herself into a room with half a dozen televisions determined to uncover something about her husband's whereabouts. Miraculously she sees an image of Harrison in a crowd of civilians being hoarded to the small Croatian town of Vukovar and decides to go there herself and bring him back alive. Despite warnings that war-torn Yugoslavia is not the place for her she manages to dodge bullets and Soviet T-55 tanks while waving around a 5x7 color glossy of Harrison yelling "Have you seen this man?"
As Sarah Harrison's devoted wife Andie MacDowell (Four Weddings and a Funeral) is convincing but irritating. While we feel for her and desperately want her to find her husband alive there is nothing more annoying than watching her traipsing around yelling "Harrison? Harrison!" while the destruction of what was once the breadbasket of the region happens all around her. Adrien Brody (Summer of Sam) plays Kyle Harrison's archnemesis who ends up helping Sarah in her efforts to find Harrison. Brody is probably the most believable and well-developed character in the film despite hokey lines like "We better both pray that some day we find somebody that loves us the way she loves him." No one actually talks like that do they? In the role of Harrison's friend and colleague Yeager is Elias Koteas (The Thin Red Line). His character is supposed to be this famous photographer (we know this because he is credited for that famous photograph of the confrontation between a Chinese student and a T-59 tank during the 1989 Tiananmen Square demonstration) but he is completely despicable. He comes off as a pompous know-it-all rather than a good friend to the Lloyds.
Director Elie Chouraqui wants us to believe MacDowell's character is this brave devoted wife but I found it hard to sympathize with her predicament. Sure it's sad that Harrison is missing and all but forgive me if I found myself more troubled by the execution of thousands of innocent men women and children instead. And in Vukovar amidst the dead bodies of Serbs and Croats she still finds time to take pictures and send them back to the press in the United States. The pictures come out crisp and sharp despite the fact that she shoots most of them in the dark--without a flash. Come on! What takes the cake however is the blatant Schindler's List rip-off: We see a little girl in a yellow dress who stops and smiles for a picture only to end up dead later in the film with a photographer exclaiming "It's the girl in the yellow dress!" It is also hard to buy the film's plot when when all we really know about Harrison is that he likes flowers which are the only thing he photographs in color. Overall Sarah's plight to find her husband almost seems petty in lieu of what is going around her.