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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.
From Chucky in Child’s Play to the Clown doll in Poltergeist, there’s nothing there’s nothing quite as creepy as silent doll coming to life as a sort of a blood-thirsty monster. Sadly, the The Boy is not as scary as you its premise promises and, although relatively high on the creep-front, it doesn’t fully realise its ambitious ideas and get to the end without stumbling over.
The plot tells of Greta Evans (The Walking Dead’s Lauren Cohan), who in escaping an abusive relationship decides to leave her home in Montana, U.S.A, heads to rural England, where she’s to work as a nanny for elderly couple, Mr. Heelshires (Norton) and Mrs. Heelshires (Hardcastle) at their country house to care for their eight-year-old son, Brahms.
However, when she gets there, Greta is shocked to learn that Brahms is no ordinary boy, but in fact a life-size porcelain doll. At first, Greta is taken back by the discovery and thinks that she’s part of some sort of prank, but she quickly realises that the pained-looking couple treat the doll as their son and even provide Greta with a strict set of rules that she must follow if she is to care for him well. Naturally, it doesn’t take long before a series of strange events begin to occur around the house when the Heelshires leave her to go on their well-deserved break, forcing Greta – along with the help of potential love interest, Malcom (Evans) – to look into Brahms’ troubled and shady past.
While there are a couple of genuinely creepy moments of terror to recall, The Boy mostly relies on its mood – impressively restrained at first and unsurprisingly threadbare towards the end – and the predictable jump-scares to indeed make you jump nonetheless. Turning what is often a refreshingly subdued and an atmospheric film into a dreadfully insipid story of a creepy life-size porcelain doll and its predictably helpless nanny – Cohan is not as terrible as one might think - the suspense surrounding Brahms is conveyed in a relatively convincing way.
However, the sheer ridiculousness that unravels within some of the scenes takes the shine off the film, so to speak, even inciting an unintentional laugh or two. This is no more apparent than with an equally ridiculous third-act twist, which seems motivated only by setting up a sequel.
After a series of questionable career choices – After Earth, Focus anyone? – Will Smith returns to form in Peter Landesman’s biographical sport-drama, Concussion; an entertaining, but relatively safe, biopic.
Concussion tells the story of Nigerian-born forensic neuropathologist, Dr. Bennet Omalu (Smith), who in 2002 makes a startling medical discovery when the body of a former American football player, who’s reported erratic behaviour and mental instability led him to suicide, is brought in for an autopsy.
Omalu’s findings suggest that the persistent head trauma, which the players endure on daily basis out in the field, can cause permanent brain damage, which often leads to various mental disorders, including memory loss, anxiety and depression.
Naming the disorder CET - Chronic Traumatic Encephalopathy – Omalu decides to publish his findings in order to educate the public on the potential dangers of the game. Unfortunately for him, the NFL isn’t too keen on what he has to say.
Based on a true story that rocked professional sports in America, the film starts off on an investigative and relatively intriguing note by opening with the struggles and then the death of Hall of Fame football star, Mike Webster (Morse). This is when we are introduced to Omalu, whose quiet and yet somewhat quirky demeanour - he talks to his corpses before beginning an autopsy - doesn’t sit all that well with his less traditional colleagues. Striking a good balance between highlighting Omalu’s journey as an African-born doctor in America and later his struggles when dealing with the NFL, Concussion ticks most of the boxes of an affective biopic; however, the film often swerves into the melodramatic, which diminishes the weightiness of the story at times.
In addition, the script doesn’t take risks in unravelling the story from its very core; it would have been nice to see a bit more dirt hiding underneath NFL’s impenetrable façade, for example, and the hurdle that the NFL presents to Omalu in publishing his findings never really seems challenging in any real way, leaving the film as a whole rather unrewarding.
Luckily, Smith, in one of his best performances in years, is there to remind all of what a passionate and empathetic actor that he can be, even if the romantic subplot never really pays off. Intriguing and thought-provoking, Concussion works, but thanks to its safe approach, it never really resonates as the important or a must-see film that it could have been.