David Lewis is affected by the death of his wife Gillian, who fell from the mast pole of their boat on a sailing trip two years ago. David deals with his grief by continuing his romance ...
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An undercover FBI agent falls in love with a recently widowed mafia wife, who is trying to restart her life following her husband's murder while being pursued by a libidinous mafia kingpin seeking to claim her for himself.
David Lewis is affected by the death of his wife Gillian, who fell from the mast pole of their boat on a sailing trip two years ago. David deals with his grief by continuing his romance with Gillian during walks with her ghost on the beach at night. While David lives in the past, other family problems crop up in the present in the real world. He neglects his teenage daughter Rachel and his in-laws come for a weekend visit to help her. Rachel has lost her mother and needs her father to snap back into the real world and help her. Written by
David Stumme <firstname.lastname@example.org>
[walking on beach at night]
Imagine him losing his daughter for taking long walks on the beach.
It isn't just that.
Then what is it? Is there something else you're not telling me?
Then I don't see his crime.
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This is actually a good case study for people to see everything that could be done wrong being done in one place :-) Not kidding at all. If you can realize how and why is this movie ridiculous and at least a few things that should have been changed pop up at you you'll learn something from Kelley's failure - and Brady's, since the play is not exactly stellar on it's own.
Like the lack of a real antagonist (Esther could have been that but that requires some writing spine and ideas), the lack of a real dramatic reversal, watering down left and right (starting with long "karaoke" sequences), making all characters lukewarm and mediocre to the point that there are no clear leads, a "ghost" talking about her own non- reality akin to a spineless, self-doubting pseudo-intellectual and loosing even a trace of a mythical etc. etc.
The audience for live theater plays may tolerate some of these things for all kinds of reasons and theatrical directors sometimes do have more spine and artistic bravery to tear a mediocre play apart and bring out some sharpened characters and stronger tension and emotion. In general, theatrical talking heads require some brave intervention in order not to be plain boring.
So this is a rare confluence of a mediocre play, completely spineless adaptation and equally spineless direction. The sole mystery is whether Michelle Pfeiffer did this to make her husband happy of whether he was writing lukewarm to make her happy :-) One of them has to be the principal culprit.
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