Release Date: 2009
Starring: Clive Owen
Screenwriter: Allan Cubitt
Pitch: An uninvolved father must parent his two sons while grieving the loss of his wife.
Rating: ** ½
What works: Not sure if Clive Owen in the lead helps or hurts the film. He oozes machismo out his pores in a way that appeals to women viewers, but for this script he rarely shows us anything more than a brick wall as his character grieves quietly, privately. And the frustration of having to take the helm as a single dad never fully comes through. Owen has a physical presence that is hard to look worn down. Paul Giamatti (Sideways) would have been a better choice in the role of Joe War, unfiltered emotions shown completely and without distraction.
The younger son’s part is well written and acted although I would have liked to have seen a bit more early on about the “comatose” state Artie lapses into for thirty minutes at a time, presumably as he struggles with his mother’s death. We see his father join him on the floor, but it’s unclear what is happening in the moment. Joe has seen his son in this condition before. It would seem more dramatic for an earlier scene when this happens for the first time, giving more impact to the scene actually in the film as Joe has learned how something about is son and how to offer support.
The older son’s story is compelling. Aside from holiday visits and occasions when work brings Joe to
Where it fumbles: Once again, I seem to have discussed some of the flaws above. It’s hard not to. The film is frustrating. The harder Clive Owen as Joe tries to contain his emotions, the more peeved I get with what could have been a more intense drama. Is it the actor, the director or the screenwriter who bares the brunt of the blame? If I cared enough, I’d read the book upon which the movie is based, Simon Carr’s The Boys Are Back in Town.
I was put off from the opening scene as Joe drives along a beach with Artie riding recklessly on the hood. This shows the two fully united in the rules-be-damned parenting style that Joe develops after Katy dies. We see that, while his parenting style is unorthodox, he has bonded with Artie. That siphons away much of the potential drama as the scenes that follow flash back to life with Katy and her painful death. Yes, there are initial challenges in caring for Artie alone, but the opening scene is a spoiler and should have been deleted or played just prior to Harry’s arrival. (Just as Joe’s figured out Artie, he now has to get to know his older son.) Harry should be resentful from the outset, perhaps even relieved Katy died. In his eyes, she was a big part of the reason his father walked out of his life. Such a revelation would have built more conflict and perhaps allowed Joe to let out some of his grief, albeit inappropriately, at Harry’s expense.
The biggest problem is that the script and the acting fail to break down the mighty wall to Joe Warr’s soul. The scenes with Joe and Katy’s mother convey zero warmth. Even when he hugs her, it’s a stoic gesture. I kept thinking back to Tom Hanks’ grieving father role in “Sleepless in
This movie’s potential is never achieved.