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Overall Rating

Awesome: 0%
Worth A Look: 30.43%
Average: 0%
Pretty Bad: 4.35%
Total Crap65.22%

3 reviews, 5 user ratings

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Nights In Rodanthe
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by Jack Sommersby

"Plasticity to the Nth Degree"
1 stars

The kind of titanically-terrible thing not even a first-year film student would lay claim to.

Gosh knows I like a good love story as much as the next person, but Nights in Rodanthe is so synthetic and listless that you can't fathom how the talented leads, Richard Gere and Diane Lane, managed to summon the energy to report to the set every day. Every scene, motivation, action and emotion is a walking cliche (as is usually the case with any film adapted from a Nicholas Sparks novel, which this is) with the killjoy filmmakers taking it all so solemnly seriously that they all but neutralize the effortless charm of the cast that also includes standout character actors Scott Glenn and Viola Davis. What there is of the story involves Lane temporarily minding Davis's beachfront North Carolina inn while she's away in Miami and a hurricane is approaching the mainland; and Lane needs the time away from home being that her philandering husband is trying to get back together with her and isn't above using their young children as a bargaining chip. Enter tormented doctor Gere, who's the only guest of the inn; he's come to see a nearby family whose wife/mother died on his operating table during a routine procedure. Yes, they're both hurting, but, wouldn't you know, eventually they open up to one another and are soon experiencing long-suppressed, undiluted joy! The only question, of course, is whether they'll wind up together at the end; and the answer is fairly clear-cut because if it were to wind up the opposite way, there wouldn't be so much left of the running time. Inexplicably, it took two screenwriters to pen such wafer-thin material that boasts such dire dialogue by the likes of, "We all make chose that life, you chose that man. Do you even remember who you really are anymore?" And the characters are no more than two-dimensional for it's really only their angst that's accentuated, which is a dramatic copout six ways from Sunday. Not helping matters is director George C. Wolfe, making his feature-film debut from a brief TV career, who, like many of that type, doesn't really shape scenes or get a narrative rhythm going; rather, he shovels forth an array of uncouth climaxes that puncture rather than punctuate the goings-on. Of course, Gere and Lane should also have their wrists slapped for signing on to such a puerile project. While they had real chemistry in their two previous outings together (the great The Cotton Club and odious Unfaithful), they just seem to be treading water here while collecting big paychecks for the most minimal of effort. About the only positive thing worth mention is a predominating visual schema that makes the best use of cobalt blue since the last Michael Mann film, though you can't help but suspect the color was chosen to literally reflect the couple's "blue mood" before their guarded interiors start to see the light of day. Both the production designer and cinematographer have really gone all-out here, and, even for some attention-getting eye candy for probably a sophomorically artistic purpose, we're more than a little bit thankful.

I'll take the much-maligned Gere-starring 'Autumn in New York' over this.

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originally posted: 08/17/09 22:58:54
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User Comments

11/09/10 the dork knight zzzzzzzzzzzzz 2 stars
11/24/08 Shaun Wallner Fell asleep to this one. 1 stars
10/02/08 Anne My tears were from uncontrollable laughter. 1 stars
9/29/08 Gloria Dornin a great pair to star in this film. liked it 4 stars
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  26-Sep-2008 (PG-13)
  DVD: 10-Feb-2009


  DVD: 10-Feb-2009

Directed by
  George C. Wolfe

Written by
  Ann Peacock
  John Romano

  Richard Gere
  Diane Lane
  Scott Glenn
  Christopher Meloni
  Viola Davis

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