WHAT’S IT ABOUT?
Pity there aren’t more stringent “truth in labeling” laws for movies like Love Happens. From the film’s title and its innumerable ads featuring stars Jennifer Aniston and Aaron Eckhart locked in a smiling embrace one might reasonably assume Love Happens to be a charming romantic comedy in which its two attractive leads bicker and flirt for a breezy 85 minutes before finally realizing that they’re meant for each other.
That assumption would be catastrophically incorrect for there isn’t much comedy to be found in Love Happens. Nor is there much romance for that matter. And come to think about it there really isn’t a whole lot of Jennifer Aniston exactly one half of the aforementioned misleading embrace to be found in the movie either. (Click here for Aniston's take on the matter.)
That leaves us with the obvious question: What then is Love Happens? It’s a drama centering on the emotional journey of Burke Ryan (Eckhart) a handsome widower who parlays the tragedy of his wife’s untimely death into a bestselling self-help book and a sold-out workshop tour becoming something like the Tony Robbins of grieving. (He's even aped the walking-on-hot-coals gimmick from the toothy motivational speaker.)
Though his adopted career is a smashing success not much else is well in Burke’s world. Truth be told he never truly reconciled himself with his wife’s tragic passing and has heretofore nursed his denial with a steady diet of alcohol and avoidance. That is until he runs into Eloise Chandler (Aniston) a refreshingly blunt free spirit whose own love life is marked by disappointment and heartbreak. Though just a humble florist with no apparent training in psychology Eloise immediately sees through the confident upbeat persona that Burke has carefully constructed. They can ease each other's pain but the healing won’t begin unless both of them are willing to let down their guard and let love -- wait for it -- happen.
WHO’S IN IT?
In addition to Aniston and Eckhart Love Happens’ cast includes Dan Fogler (Balls of Fury) as Burke’s smarmy agent and former college roommate Judy Greer (27 Dresses) as (what else?) Eloise’s quirky sidekick John Carroll Lynch (Zodiac) as one of Burke’s more skeptical workshop attendees and Martin Sheen (Apocalypse Now) as his resentful father-in-law.
Misleading marketing aside Love Happens writer/director Brandon Camp does make an earnest attempt to explore the grieving process of a man who has experienced unspeakable tragedy. Which is better than a saccharine formulaic romantic comedy I guess.
For all its serious intentions Love Happens bears all the hallmarks of a slick studio rom-com including stereotypical supporting characters (his irreverent wing-man her goofy confidante) contrived comic relief devices (Sheen plays straight man to a crazy parrot!) and manipulative tugs on the heartstrings (too many to mention). The whole experience comes off as sort of a second-rate Cameron Crowe flick.
The climax of Love Happens includes a dramatic “slow clap ” in which the lead character finally breaks down in a cathartic release of pent-up emotion and is rewarded with a slow-building round of applause from onlookers. That’s pretty much all you need to know about this movie.
As a wife and mother Sarah (Shauna MacDonald) has a seemingly idyllic life until a sudden accident rips her family away from her. That sets in motion a kind of healing reunion a year later. Her feisty friend Juno (Natalie Mendoza) and Beth (Alex Reid) convince Sarah to join a few other friends on a caving expedition--including Holly (Nora-Jane Noone) a butch caver who impulsively does whatever she wants and Rebecca (Saskia Mulder) an overly-cautious climber who needs to map out everything they do. Thing is this thrill-seeking challenge turns out to much more than they expected especially when they are trapped and suddenly notice white shadows squirming around them. Not good. The mostly unknown actresses in this scare fest are all decent in their Descent--and although grappling with one-dimensional characters the women still manage to convey the suffocating feeling of being confined in small spaces. In the dark dripping wet environ they deliver realistic reactions to the horror unfolding around them which is about as chilling as anyone can imagine. MacDonald as the long-suffering widow is a particular treat as she changes from a pitiful whiner to a kick-ass survivor who exacts revenge in different ways. Originally released in England British director Neil Marshall has handed us an appropriately creepy film which taps into primal fears--dark claustrophobic spaces things that go bump in the night--situations we usually see men deal with. So it's quite refreshing to watch women handle it especially in the way Marshall unravels the female camaraderie as expertly as the climbers tie their ropes. The Descent displays squirm-inducing violence that's not at all white-washed just because there are ladies involved. It's gory and brutal. The scariest moments are often obscured by the dark and in some scenes the film resorts to a Blair Witch Project point of view by watching the action through a camcorder. Although this Americanized version has a different ending from the British version (apparently one not so morbid) it's still far better than last year's abysmal The Cave. The Descent will definitely get your heart rate up!
September 07, 2004 12:11pm EST
In Paparazzi celebrity photographers are an affliction that torment tens if not dozens of residents of Brentwood the Hollywood Hills and Malibu. Bo Laramie (Cole Hauser) is one such denizen. As Hollywood's brightest new action star Laramie along with his wife Abby (Robin Tunney) is set to enjoy the sweet ride of success until paparazzo Rex Harper (Tom Sizemore) and his marauding band of slimy shutterbugs turn his life into a living hell. Or at least a fairly large inconvenience. With a blatant nod to Princess Di the pesky paparazzi cause a high-speed car wreck which sends Bo's son Zach (Blake Bryan) into a coma of convenient duration and results in the loss of Abby's spleen. Which is fitting as the movie has no discernible spleen of its own. And so our hero who has obviously not received the standard studio briefing on the joys of contract killers takes matters (and a baseball bat) into his own hands. The model for Paparazzi is the vigilante movie: Death Wish Billy Jack Walking Tall and the like. But whereas Bronson's Paul Kersey devolved from architect to cold-blooded killer only when faced with impossibly high stakes (the murder of his wife and rape of his daughter) Laramie by contrast turns into a serial killer and a sloppy one at that over a little retinal glare. And doing it all by himself? One imagines the Anthony Pellicanos of the world dispatching guys like Harper during a Pilates break.
It's problematic asking non-movie stars to play huge movie stars for obvious reasons. Bo Laramie is supposed to be the biggest thing since Ah-nuld held his day job but as Hauser plays him he comes off more like Michael Dudikoff. Even as he's beating paparazzi to death with his own hands there is no sense of a human being or even a movie star being pushed to his limits. Tunney who was terrific in Niagara Niagara has nothing to do and neither does Dennis Farina as the cop conflicted by the A-list avenger. Sizemore of course steals every scene he's in effortlessly and ruthlessly. In spite of his recent legal troubles (or perhaps because of them) he brings just the right dosage of dangerous persona and edgy charisma to his growing roster of manic miscreants. Ultimately though even his involvement is disappointing: When he's on screen he fools you into thinking a real movie is about to start.
First-time director Paul Abascal is but a pawn in Mel Gibson's dogmatic production slate. Screenwriter Forrest Smith had a small role with Gibson in We Were Soldiers and reportedly leveraged the moment to pitch Paparazzi to the actor/producer/Catholic poster boy. Gibson has had issues with his privacy before and has already proved himself shameless in using the movies to promote an agenda. So as with The Passion of the Christ a movie that wouldn't have gotten so much as a sniff at any other studio found itself with a green light. And Bo Laramie became family man/action hero Gibson's violent alter ego. Or maybe just ego. (Gibson also has a brief cameo and the one sheet for Laramie's "movie" Adrenaline Force 2 is a dead ringer for the poster art for Lethal Weapon 2). With Gibson's personal profits alone surpassing the $400 million mark with this week's Passion DVD sales and Paparazzi's budget listed at $20 million Gibson could make 20 sequels to Paparazzi. Or he could use the producer's pulpit to speak out against other vexations in his life. Somewhere at Icon world headquarters Leaf Blower: The Movie just went into pre-production.