AFI Fest
A satire that takes aim at conventional movie romances, "Adam & Eva" begins with a Hollywood ending -- literally -- complete with accompanying closing credits.
From there, Austrian director Paul Harather and writer Ivo Schneider proceed to skewer, flip or otherwise turn inside out the standard romantic comedy template. And while the genre could certainly stand a little shaking up, all the wacky goings-on tend to get in the way of audience identification.
Four years after rescuing a young woman named Eva Marie Baeumer) from a burning building, former firefighter Adam (Simon Schwarz) is wondering whatever happened to the Happily Ever After part.
Finding that their lives have become boring and predictable, they both yield to temptation when it presents itself. Adam has an affair with his brother's nanny, while Eva succumbs to the charms of an executive, who, unlike her husband, really wants to have kids.
But even though they agree to go their own separate ways, they still find themselves drawn to each other.
The resulting sexual roundelay keeps things lively, and -- thanks to the film's refusal to take a linear path -- at times confusing. In fact, by the end, all that loopy restlessness makes one sort of yearn for a good old-fashioned, conventional romantic comedy.
A satire that takes aim at conventional movie romances, "Adam & Eva" begins with a Hollywood ending -- literally -- complete with accompanying closing credits.
From there, Austrian director Paul Harather and writer Ivo Schneider proceed to skewer, flip or otherwise turn inside out the standard romantic comedy template. And while the genre could certainly stand a little shaking up, all the wacky goings-on tend to get in the way of audience identification.
Four years after rescuing a young woman named Eva Marie Baeumer) from a burning building, former firefighter Adam (Simon Schwarz) is wondering whatever happened to the Happily Ever After part.
Finding that their lives have become boring and predictable, they both yield to temptation when it presents itself. Adam has an affair with his brother's nanny, while Eva succumbs to the charms of an executive, who, unlike her husband, really wants to have kids.
But even though they agree to go their own separate ways, they still find themselves drawn to each other.
The resulting sexual roundelay keeps things lively, and -- thanks to the film's refusal to take a linear path -- at times confusing. In fact, by the end, all that loopy restlessness makes one sort of yearn for a good old-fashioned, conventional romantic comedy.
AFI Fest
A satire that takes aim at conventional movie romances, "Adam & Eva" begins with a Hollywood ending -- literally -- complete with accompanying closing credits.
From there, Austrian director Paul Harather and writer Ivo Schneider proceed to skewer, flip or otherwise turn inside out the standard romantic comedy template. And while the genre could certainly stand a little shaking up, all the wacky goings-on tend to get in the way of audience identification.
Four years after rescuing a young woman named Eva Marie Baeumer) from a burning building, former firefighter Adam (Simon Schwarz) is wondering whatever happened to the Happily Ever After part.
Finding that their lives have become boring and predictable, they both yield to temptation when it presents itself. Adam has an affair with his brother's nanny, while Eva succumbs to the charms of an executive, who, unlike her husband, really wants to have kids.
But even though they agree to go their own separate ways, they still find themselves drawn to each other.
The resulting sexual roundelay keeps things lively, and -- thanks to the film's refusal to take a linear path -- at times confusing. In fact, by the end, all that loopy restlessness makes one sort of yearn for a good old-fashioned, conventional romantic comedy.
A satire that takes aim at conventional movie romances, "Adam & Eva" begins with a Hollywood ending -- literally -- complete with accompanying closing credits.
From there, Austrian director Paul Harather and writer Ivo Schneider proceed to skewer, flip or otherwise turn inside out the standard romantic comedy template. And while the genre could certainly stand a little shaking up, all the wacky goings-on tend to get in the way of audience identification.
Four years after rescuing a young woman named Eva Marie Baeumer) from a burning building, former firefighter Adam (Simon Schwarz) is wondering whatever happened to the Happily Ever After part.
Finding that their lives have become boring and predictable, they both yield to temptation when it presents itself. Adam has an affair with his brother's nanny, while Eva succumbs to the charms of an executive, who, unlike her husband, really wants to have kids.
But even though they agree to go their own separate ways, they still find themselves drawn to each other.
The resulting sexual roundelay keeps things lively, and -- thanks to the film's refusal to take a linear path -- at times confusing. In fact, by the end, all that loopy restlessness makes one sort of yearn for a good old-fashioned, conventional romantic comedy.
- 12/10/2003
- The Hollywood Reporter - Movie News
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