Despite what the trailer might have you believe In the Land of Women isn't exactly a sweet sigh-inducing romance. Yes main character Carter Webb (Adam Brody)--a slightly snarky screenwriter who makes his living writing soft-core porn--leaves Hollywood for Michigan to get over a hard break-up by taking care of his aging tart-tongued grandmother (Olympia Dukakis). And yes he subsequently ends up getting entangled with angsty blond teenager Lucy Hardwicke (Kristen Stewart) and her lonely mom Sarah (Meg Ryan). But the trio's tenuous relationships are complicated by confusion resentment illness and misunderstanding all of which add up to a situation that's hardly straightforward--and frankly not all that romantic either. Brody is no stranger to playing sarcastic pop culture-savvy Southern Californians: After four seasons on The O.C. as Seth Cohen he's got the type down pat. As Carter he balances wry quips with a nice dose of empathy--you can tell that he truly cares about both Lucy and Sarah (not to mention his grandma as crusty as she is). But to be honest it's a little hard to see why. Stewart plays Lucy with a shy sullenness that's not very endearing--she gets a little more animated toward the end but it's too little too late--and Ryan's trademark perkiness has worn thin. She gives Sarah's dramatic scenes her best shot but the character's confusion and pain don't seem at home on her unnaturally tight face. Dukakis gets in a few zingers as Grandma Phyllis but the character is essentially one-note--as is Lucy's sister Paige (Makenzie Vega) who swiftly goes from "cutely precocious" to "awkward yapping." In many ways Paige seems like a character lifted out of the John Hughes playbook which isn't that surprising given Carter's fascination with the '80s director's oeuvre--and the movie's Hughes-ian high school subplot. Unfortunately the "classic" high school movie scenes (the party Lucy takes Carter to their movie outing at the mall her dawning realization at the end etc.) while fun for folks who grew up watching the movies they're obviously inspired by have a light tone that's jarring compared to the rest of the film's drama. When it comes down to it Carter--who's looking for a reason to stop drifting through life--has a lot more in common with Garden State's Andrew Largeman than Hughes heroes like Ferris Bueller and John Bender. Trying to squeeze him into a teen-centric story rather than focusing on helping him grow up doesn't do him--or the movie--any favors.
In the beginning of the Dark Ages the warlords of England are brutally kept in line by the Irish King Donnchadh (David O'Hara). Tristan (James Franco) has grown up hating the Irish for killing his family and has made a strong allegiance to father figure Lord Marke (Rufus Sewell) while Isolde (Sophia Myles) Donnchadh's daughter has grown up under her father’s thumb. After a fierce battle that leaves Tristan near death he washes up on Irish soil and is nursed secretly back to health by Isolde who tells him she’s someone else. The two fall madly in love but Tristan must return to England before he’s discovered. Meanwhile Donnchadh decides to stage a tournament between all the champions of England with his daughter as the prize. Tristan ends up winning the princess' hand for Lord Marke but is horrified to find out she’s his own true love. Tristan and Isolde now must suppress their love for the sake of peace and the future of England. But despite their best efforts to stay apart the lovers are driven inexorably together. Despite the fact that Franco (Spider-Man) and Myles (Underworld) look lovely rolling around on the ground in romantic trysts and gazing forlornly at one another you don’t necessarily feel any heat between them. That seems to be mostly the fault of Franco who plays the young Tristan far too stoically. We understand he’s a tortured soul torn between duty and love with his eyes perpetually half-filled with tears. But couldn’t he have shown a little more passion (and while he’s at it washed his hair)? The luminous Myles is better at showing her burning desire but she too is left many times sad and weepy. Only Sewell (Legend of Zorro) who is usually delegated to playing bad guys shows any kind of raw emotion as he first falls genuinely in love with his bride--and then is betrayed by her and the only son he ever knew. He’d probably make a great King Arthur. As the Celtic myth of Tristan and Isolde predates the Arthurian legend as well as Shakespeare’s Romeo and Juliet you can easily see how those two more famous stories were possibly formed. Tristan & Isolde is a classic story of forbidden passion set against political upheaval as well as a tale about a tragic love triangle. Producers Ridley and Tony Scott had been fascinated with the legend for many years and finally got the opportunity to bring it to the big screen. Ridley however who directed last summer’s medieval fare Kingdom of Heaven wisely chose to hand over the directing reins to Kevin Reynolds (Robin Hood: Prince of Thieves) who adequately paints a picture of a time when chaos reigned. Maybe Tristan & Isolde is not as compelling or romantic as the king of them all Braveheart but it is certainly far more accessible than say Kingdom of Heaven. Sorry Ridley.