The Last Kiss

The distribution and deconstruction of the innermost workings the male mind has to offer, oftentimes come to the same and disastrous conclusion; the grass is always greener, no matter the side. Whenever there is loneliness, there is desire for consistency and when there is consistency, loneliness starts to feel an awful lot like freedom. The exemplification of this need is, in other areas of the world, treated as either, the norm or something that would simply cause parties not involved to look the other way. Hence why, The Last Kiss, having been translated from a French film, seems to have, through its indigenous cultural perspective, a slight anemic quality - or a loss of complete translation.

Furthermore, director Tony Goldwyn has, of sorts, become a poor man's version of his star: Zach Braff. Odd, since Braff himself, through his own directorial experience, seems to be a poor man's Cameron Crowe. The three of them, in declining order, have a love of pop music and similar disdain for a musical score. The trio all uses pop music to bracket not only their individual scenes, but also as an encapsulating definition of the film themselves. Braff's Garden State was as loved for its use of pop music, as it was held in high regard for the impressive job its newly christened writer/director/star had managed to pull off. Here, though, through the direction of Goldwyn and writing of Paul Haggis, The Last Kiss comes off as a second-hand version of Braff's film. Not only is there an astonishing amount of character driven similarities, but also there is a conspicuous overlap in the casting.

One cannot discredit Braff, his involvement in this project actually seems like a smart business move, not a cheap ploy or attempt at capitalizing without diversifying. Although the film has a striking similarity to Braff's previous film, it seems like a completely adequate way to continue his film career before venturing forth into more diverse roles. However, the remainder of those involved in the picture, most notably Haggis, really has to do with the overall, disappointing and underwhelming feel to what is really a more than adequate film.

Certainly, Haggis' involvement and dabbling in the crowd pleasing, but poorly made film genre has a lot to do with this film being made. I'm sure the maker of Crash, while meaning purveyor of garbage to many, myself included, may convey the notion of quality to the kind of people who unfortunately enjoyed that film and therefore may feel a strange compulsion to view anything in which he may be involved. For those who did not like Crash, finding it to be shallow and frighteningly bad, might be surprised to find that his screenplay, for the second time this year ? his involvement in the wonderful Casino Royale, being the first ? is not only totally inoffensive, but smacks of a certain kind of quality. Here, Haggis has infused his characters with a certainty of themselves, which is odd given each one is at a crossroads, if you will, but their paths seem so clearly cut that all one must do is go along for the ride. While this kind of writing makes it easier for the audience to play along, it does have the unfortunate side effect of coming off as being cookie-cutter, which is one of the only deriding aspects of The Last Kiss.

Furthermore, the direction of Tony Goldwyn is completely adequate, not magnificent or wonderful, but merely nothing more than a job well done. This film feels a lot like the rest on his short directorial resume; they are fine to watch and at times entertaining, but deep down, they are simple and sadly, not very memorable. The Last Kiss is just a simple little romp, something that was designed to appear compelling to young men and women forced to grow up, but at heart, unwilling to do so. Braff's relationship with Jacinda Barrett feels like something every man faces as he segues from the role of single man to the role of husband and father. Of course, it feels like a prison sentence; life is inexplicably filled with choices, and reasons for those choices that make one feel like they are making a series of unnecessary sacrifices long before they begin to reap the benefits. It is obvious, as is the majority of this film, but as credit to both Goldwin and Haggis, it is unapologetically effective.

The DVD from DreamWorks features a jam-packed extras section of the disc. Coming complete with commentary by director Tony Goldwyn and Zach Braff and a second commentary featuring Tony Goldwyn, Braff, Jacinda Barrett, Rachel Bilson, Michael Weston and Eric Christian Olsen, which is not half bad. Furthermore, there are featurettes galore with "Filmmakers' Perspective," "Getting Together," "Behind Our Favorite Scenes" and "Last Thoughts." There is also a Cary Brothers music video: "Ride," directed by Zach Braff, deleted scenes and the obligatory gag reel. All in all, a fairly in depth disc for such a film.