This movie is a highly conventional Hollywood drama, complete with carefully placed beauty shots and touchy-feely Mark Isham music. But writer/director Silberling consistently overcomes the cliches of his own picture by finding truly original moments through the subtle glances and gestures of his fine actors, and nice small touches of the world around them.
Jake Gyllenhaal is quietly brilliant, inhabiting the space of his grieving and frustrated character with an assurance and maturity that wasn't guaranteed from his earlier performances--a big step forward for him as an actor. And Susan Sarandon is sharp as hell in her best role in years--Hoffman has the most difficult task, portraying a man who is completely submerged in denial, but he serves the film well and handles the inevitable Big Moments late in the narrative with the class and skill you'd expect.
This movie has some genuinely original points of view about the reality of losing a loved one, and the complexity of human emotion: especially how that complexity is usually at odds with how we're expected to behave in such situations.
There is a tortured romance with Gyllenhaal's character that is cliched to begin with, and nearly altogether bungled by the writing. Unfortunately, this part is central to the story, so you're stuck with scenes that seem like a cross between Adrian Lyne sex-drama and an episode of The Wonder Years. This story string also leads > to an ending that will likely be far too neatly tied for many discerning filmgoers, as it was for me.
But when the movie sticks to the messy yet electric triangle of the dead girl's parents and her fiancee, it's really something. Unless you simply can't abide by a movie that's unapologetic about its mainstream Hollywood nature, excellent performances, consistently interesting touches in the writing, striking photography, and more than a few original ideas make this movie worth a look.
Jake Gyllenhaal is quietly brilliant, inhabiting the space of his grieving and frustrated character with an assurance and maturity that wasn't guaranteed from his earlier performances--a big step forward for him as an actor. And Susan Sarandon is sharp as hell in her best role in years--Hoffman has the most difficult task, portraying a man who is completely submerged in denial, but he serves the film well and handles the inevitable Big Moments late in the narrative with the class and skill you'd expect.
This movie has some genuinely original points of view about the reality of losing a loved one, and the complexity of human emotion: especially how that complexity is usually at odds with how we're expected to behave in such situations.
There is a tortured romance with Gyllenhaal's character that is cliched to begin with, and nearly altogether bungled by the writing. Unfortunately, this part is central to the story, so you're stuck with scenes that seem like a cross between Adrian Lyne sex-drama and an episode of The Wonder Years. This story string also leads > to an ending that will likely be far too neatly tied for many discerning filmgoers, as it was for me.
But when the movie sticks to the messy yet electric triangle of the dead girl's parents and her fiancee, it's really something. Unless you simply can't abide by a movie that's unapologetic about its mainstream Hollywood nature, excellent performances, consistently interesting touches in the writing, striking photography, and more than a few original ideas make this movie worth a look.