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The Lucky One: Cheesy Chick Flick
We’ve all seen, at the very least, one Nicholas Sparks film which is enough to figure out the formula that has probably made him into a millionaire by now. While they’re usually super cheesy, they sweep you along in a torrent of emotion. You laugh, you cry, you swoon and you leave the cinema happy. But even with adjusted expectations, The Lucky One isn’t particularly entertaining.
The film is completely centred on the romance and so there’s absolutely nothing to distract from Zac Efron’s zombie-like state. Or from the film’s frightfully cheesy dialogue. Or from the fact that it packs a whole hoard of clichés into an hour and a half in a desperate plea to activate our tear ducts.
Efron plays Logan, a marine stationed in some Arab country (turns out to be Iraq) fighting the scary brown men. The morning after an ambush, he finds a picture of a blonde chick with the words ‘keep safe’ on the back. He carries the picture around with him everywhere, like a talisman, and lo and behold, he cheats death several times while a ton of people around him die. Traumatized, he returns to America with the aim of finding the girl in the picture and thanking her for being his guardian angel. He tracks her down, is unable to show her the picture or tell her why he’s there, takes a job near her and they soon fall in love. The blonde girl turns out to be a single mum by the name of Beth (Schilling) who has an abusive ex who keeps threatening to take their kid away from her and who doesn’t like the fact that she’s seeing Logan.
Out of the two leads, Taylor Schilling is definitely the least offensive, though Blythe Danner, as Beth’s grandmother, despite being the most watchable person on screen, was a rather head scratching piece of casting. Beth’s mother would be understandable but grandmother? Either she’s found the fountain of youth or Beth looks far older than she actually is. Schilling’s character fluctuates between brave, selfless mother and helpless female, both of which only require her to stand around looking pretty which isn’t exactly difficult for someone who looks like Katy Perry’s blonde twin. All in all, she’s pleasantly bland. Efron on the other hand looks like a buff, tanned corpse. His character is supposed to be grieving for all the friends he lost on duty but what we get from Efron is a complete lack of emotion. When he’s not showing off just how nice he is by playing with Beth’s kid, he’s standing around blank faced, looking stiff. Resembling a teenager isn’t helping his cause much either.
The lack of tension is what really does the film in though. The Notebook had a sense of urgency about it. You genuinely rooted for the couple to be together even though they weren’t necessarily pleasant characters. Part of that was Amy McAdams and Ryan Gosling’s chemistry which Efron and Schilling lack but on the other hand there was an actual obstacle keeping them apart. In The Lucky One, their troubles are more hiccups than roadblocks.
This film is really only recommended for die hard Nicholas Sparks fans or people who don’t mind staring at beautiful actors, sun drenched scenery and a gaggle of adorable dogs in lieu of a decent story. Stay away if you’re prone to incessant eye rolling.
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.
It should be pretty clear by now that if you’ve seen one Nicolas Sparks film - Notebook, The Last Song, A Walk to Remember - you’ve seen them all. Continuing in the trend of relentlessly sappy romantic melodramas, The Choice - adapted to the big screen by Bryan Sipe and directed by Ross Katz - will speak to those who are willing to listen. However, those who prefer their movies with a little less cheese might want to rethink their order.
Set in a small idyllic coastal town in North Carolina, the story is centred on Gabby Holland (Palmer); a medical student who has moved away from the chaotic city life for some peace and quiet while studying to become a doctor. Unfortunately, the peace she was looking for is not to be found as she has moved in next door to, Travis Shaw (Walker); a handsome veterinarian, who, along with his on-and-off girlfriend, Monica (Daddario), enjoys throwing loud parties and get-togethers, much to Gabby’s distaste.
At first, the two are at each other’s throats, with Gabby not withholding her obvious exasperation with the hunky neighbour. However, when their significant others - including Gabby’s boyfriend Ryan (Welling) - conveniently disappear from the picture for a few days, it’s not long before the two fall for one another.
Logic, common sense and reality, are nowhere to be found in this idyllic romantic setup, set along a sun-dappled coastline where each sunset is better than the next. For fans of this particular brand of romantic movie, what ‘connection’ the two leads manage to cultivate is satisfying enough. Unfortunately, for those who might be a little bit more grounded and connected to reality, this latest heavy serving of romantic sap just won’t do.
Sticking unremittingly to its formulaic mould, The Choice - boasting all of the worst romantic movie tropes under the sun - is the definition of derivativeness, featuring plenty of hand-holding, eye-gazing and corny romantic exchanges. The leads, although, pretty to look at – this is a Nicolas Sparks movie after all – are just not strong enough to carry the film through; Palmer’s overacting is bothersome at best, while Walker largely serves as the eye-candy of the piece.
All in all, those who enjoy the comfortable predictability that can be found in Nicolas Sparks stories, will definitely find something to like about the author’s eleventh book-to-screen adaptation. It’s everyone else that we’re worried about.