Sign in using your account with
Remember Me: Easily Forgettable
Robert Pattinson steps outside his Twilight Vampire shell in this romantic drama of a troubled young man who falls in love with the equally troubled Ally (de Ravin). Despite its attractive cast featuring major stars such as Bronson and Cooper, Remember Me does little to be remembered.
Tyler (Pattinson) is a young man struggling to come to terms with his brother's suicide and his turbulent relationship with his millionaire businessman father (Brosnan). He constantly gets into trouble and lacks direction in his life until he meets Ally, who, for some reason, is able to get beneath the armour and touch Tyler in a way he had never thought possible.
Of course, Ally comes with baggage too, namely her overprotective detective father (Cooper), who only further complicates her relationship with Tyler. Supporting characters like Tyler’s younger sister Caroline and his best friend Aidan provide fodder to the plot.
The film reaches its climax when the complex characters’ lives all tumultuously intertwine, allowing for the characters to develop and show growth. Sadly, the film’s abrupt ending gives an overly dramatic and unnecessary twist to the story, leaving viewers scratching their heads as to why this direction was chosen.
Despite the believable chemistry between Pattinson and de Ravin, their performances can do little to move the film forward. At times, one feels it is an even slower version of a Nicolas Sparks novel that attempts to touch, make one laugh and create a sense that love can overcome all. The Nicholas Sparks similarity is especially unfortunate, since his latest film adaptation Dear John was released at the same time as Remember Me and may confuse viewers with its very similar dramatic theme (we won’t spoil the ending for you).
Overall, Remember Me is a decent attempt to crawl into the space held by the Sparks' novels of love against the odds. In essence, the purpose of the film is dedicated to the idea of living in the now; and encourages viewers to stop searching for answers in the past and move forward.
This is a perfect date film; if your idea of a perfect date is to have your companion sobbing uncontrollably at the end of the film. Remember Me is still very much a teen flick that will undoubtedly attract hoards of Twilight fans. However, don’t expect this to be in the same world as The Notebook, as the direction leaves just too much to be desired.
As far as buddy-comedies go, you can do a lot worse than Etan Cohen’s – not to be confused with the other Ethan of ‘Ethan & Joel Coen’ – partially entertaining and exceptionally raunchy Get Hard. Written by the director himself – along with the help of Jay Martel and Ian Roberts – the latest Ferrell & Hart coalition is promising of a few laughs, but, it’s definitely not for everyone.
The story is centered on a cheerfully unconcerned multimillionaire trader, James King (Ferrell) who is unexpectedly arrested for the suspicion of fraud and embezzlement. Outraged and willing to fight for his innocence, James soon finds out that his ‘type of people’ – you know the white-collar ones – are no longer protected by the judicial system and he is soon sentenced to ten years in a maximum security prison.
Scared and worried at what awaits him, James – who has been given thirty days to get his affairs in order - soon comes across Darnell Lewis (Hart); a straight and hard-working African-American who runs the car-cleaning service in the garage of James’ firm. Determined to get as much help as he can get, James turns to the only man he believes knows a thing or two about prison. However, what he doesn’t know is that Darnell – who is more than happy to accept the thirty-thousand-dollars payment – is just as naïve about life in prison as he is.
Get Hard is not original nor is it exceptionally funny. Its lack of creativity shows and its love for conventionality is at times a little hard to bear. However, in the midst of all the vulgarity it so shamelessly finds itself in – the prison-rape jokes as well as sexual assault humor is a little on the excessive side but plenty funny if you allow it to be - there is still enough room for laughter. The jokes – which involve a lot of ‘back-door’ talk and other seemingly offensive behavior which some viewers might find a little hard to sit-through – don’t always land where they’re supposed to but, when they do, the results are rewarding.
The one thing that keeps the movie from falling completely flat on its face is the genuine chemistry between the two leads who have managed to pour in some of their best work into the mix. Ferrell is well, Ferrell and his oblivious and not-as-annoying-as-you-may-think man-child works well against Hart’s snappiness and fast-moving energy and the duo, although, not the most easy-to-love characters, succeed in delivering the laughs.
It’s stupid, funny and rude. It works, almost.
With seventeen novels to his name, it’s fair to say that author, Nicholas Sparks, has enjoyed a decent amount of success, especially since his very first book-to-film adaptation of the super-cheesy Message in a Bottle back in 1999. Nine of his novels have been turned into big Hollywood motion-pictures – including The Notebook and Dear John – and his latest, a disastrous and a painfully predictable attempt at a romantic drama, is the author’s tenth and quite possibly, most damaging of them all.
The story opens with Sophia (Robertson); a young woman looking forward to moving to New York City, where she plans to pursue her dreams of working at an art gallery right after she graduates. Things soon get complicated when - while attending a bull-riding competition of all things - she lays her eyes on Luke Collins (Eastwood); a handsome and a talented bull-rider who is making a return after suffering a major injury a year prior. The two are quick to connect and soon begin to spend more time with one another.
One night, they come across a devastating car accident and after managing to pull an elderly man named Ira Levinson (Alda) - and his box full of old letters – out of the wreck, the film smacks on another layer to the story. Sending us all the way back to WWII, the film shifts its focus to young Ira (Huston) and a beautiful young girl named, Ruth (Chaplin), and begins to follow their romance; a story filled with plenty of heartache and tragedy to keep hardcore Sparks fans amused.
One thing’s for sure; if you’ve seen one Nicholas Sparks movie, you’ve seen them all. Two pretty people fall in love. Their potential happily-ever-after is challenegd by a series of obstacles and hurdles which they need to find the strength to overcome. Tragedy strikes. Tears are jerked. Roll credits.
The Longest Ride is one of author’s weakest entries, it’s a little too predictable and as the tenth book-to-movie adaptation for the celebrated author, there’s nothing to separate it from the pack or make it more relevant or topical. The story jumps back and forth rather awkwardly between the past and the present and there is very little that connects the two periods together, making us think why bother with the timeline to begin with?
On the upside, the leads – although lacking quite a bit of chemistry – are likable and both Eastwood and Robertson bring enough charm and easygoingness – yes, that’s a real word – into the story. However, their pretty faces aren’t enough to save the day; unsurprising and tediously slow, The Longest Ride is a truly a long ride.