(I) (2009)

Critic Reviews



Based on 11 critic reviews provided by Metacritic.com
Its modesty is what makes its very real virtues -- a tart, literate script, an adroit balance of humor and pathos, a memorable onscreen collaboration between star-scribe Scott Caan and his father James -- so cumulatively impressive.
The New York Times
Had John Cassavetes directed “Love Story,” it might have turned out looking and sounding something like Mercy, a portrait of a sub-Mailer-like literary pugilist and the woman (named Mercy) who wins his heart. Odd as that juxtaposition may seem, it's not a bad mix.
What's lacking is a little more depth. This is a movie that covers a lot of distance in only 87 minutes.
In a certain kind of indie movie, the only thing sweeter than a bad boy transformed is slow, sad tragedy. Mercy has both, which isn't good.
Despite risible dialogue, Mercy is watchable because of Caan's physical presence -- and a couple of scenes with his real-life father, James Caan, as his cynical dad who pronounces that "love -- it does not exist."
At the risk that giving Scott Caan a bad review will cause him to fall in love with me, I must note the irony in a film that seeks to critique superficiality, only to fall back on the old "dead fiancées deepen dipshits" trick.
The end is swollen with macho brooding before the hero finds the inner strength to accept the advances of another incredible dish.
A romantic drama with some good qualities -- among them earnestness and strong performances -- but not enough to completely overcome the strain of its clichés.
Time Out New York
Caan can't seem to play up his strengths. He's a raw talent who needs an editor for his scripts and a strong hand behind the camera guiding him. Mercy gives our guy neither.
Mercy can be described as a moody picture that traffics in variations of only one mood or sentiment: self-pity.

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