Happy Accidents

I tend to like character-driven movies and am quickly put off by movies that follow one of the familiar Hollywood stories. This movie successfully ventures into interesting and largely untested ground.

The story is about a man (Vincent D'Onofrio) who becomes romantically involved with a woman (Marisa Tomei) who has a history of co-dependence and failed relationships. He claims that he is from the future. The plot takes us on the journey of their relationship and her questioning of the truth to his claims vs. whether he is another in a string of loser guys that she seems to cling to.

The plot synopsis sounded a little odd, but it was my hope that these two talented actors could pull it off. Both Tomei and D'Onofrio turn in excellent performances. They present complex, interesting and flawed characters who engage our interest. The writing is very good and enjoyable.

My only complaint is the the story sags a little about 2/3 of the way through. A little tighter editing of about 10 minutes of essentially redundant scenes would have made the movie a more engaging.

I rate it a 8/10 and encourage those who like well-written, character-driven movies to check this one out.

Don't rent this film if you are the kind of movie watcher/goer who doesn't like to have their brain engaged. (i.e. you only want car chases, explosions, bouncing boobies and bathroom humor.) You will be very disappointed.

I adored this movie and will purchase it as soon as I can get my hands on a copy. Why do I adore it? A few reasons.

First, it is not your run-of-the-mill story. The time travel concept is handled in a very interesting way. The "back story," the photograph, the "father's" phone number -- all keep you wondering as they do Ruby (Tomei's character). Too, I appreciated the way the viewer is never quite sure (until the end -- and I won't give it away) if Sam (D'Onofrio's character) is really telling the "truth" or really is mentally/physically ill. I had a roommate for seven years who was bi-polar and borderline psychotic. It was scary how true this movie was in terms of what happens to the people who are dealing with (at least supposedly) mentally ill individuals. The writing and Tomei's acting portrayed the enabling, co-dependant thing perfectly and how these types of relationship can spiral into dangerous places.

Secondly, I liked the fact that the whole movie (except for a few brief shots at the beach and the ending) was filmed with a hand held camera. It gave it an almost documentary-like feel. I think the intimacy of the hand held kept the viewer's focus on the characters, rather like sitting in the room and looking back and forth between them. It also underscored their emotions, thereby grounding us in their reality. It just sucks you in. Because of this I never got a sense that this movie was trying to be a SciFi flick, and I don't think it was intended to be. The jerkiness of the hand held also was a reminder, subtle or not, of the shakey ground these characters were treading both separately and together.

Third and last. D'Onofrio's performance. Outstanding. Man, he continually blows me away! His Sam had to be completely gentle and innocent on one hand, but very threatening and creepy on the other. Sam was so engaging and sweet at first but towards the middle of the film, while retaining those qualities, I was really beginning to wonder if he was a physical threat to Ruby. A fine edge to walk as an actor. And all the future and time theory babble was handled with apparent ease. I believed him. D'Onofrio has the ability to just melt into a character's skin, to completely transform himself. He gives it all.

(On that note, there have been many in these reviews who say he usually plays evil characters and are surprised by this performance. He has done a few bad guys, but it is his other roles I love best. If you enjoy his work PLEASE check out - if you have not done so already - The Whole Wide World, Household Saints, Steal This Movie, and Good Luck. All good movies made GREAT by his performances. In my opinion he's one of the best out there and very under-rated.)

The only thing I didn't like in the film was the score. It just didn't work for me.I felt it was intrusive and much too jarring. It seems like a misguided afterthought. For me, if I notice the score over the performances or it interrupts my ability to follow the story, it isn't doing it's job well.

We happened across "Happy Accidents" by happy accident: there was nothing worth watching on any other channel and the description of the movie on IFC was enough for us to give it a go.

We made the right choice.

This is a sweet little romantic comedy. I had never heard of it before through the mass media; perhaps that's because nothing gets blown up in the movie, no guns are drawn, and only a few punches are thrown. Instead, Marisa Tomei and Vincent D'Onofrio mostly interact with each other (as aided and abetted by Tomei's therapist and girl-friends). (Nowadays, does that make it a "chick-flick"?)

One cautionary note: If you've seen "K-Pax", you may feel "Happy Accidents" is a bit derivative, almost like a trip back into the past, but hang in there. If you're a fan of either Tomei or D'Onofrio (probably most famous for his role as "the bug" from "Men in Black"), or even if you're just looking for a pleasant way to pass an hour and fifty minutes, catch this the next time it comes around on cable/satellite -- you won't be disappointed.

I actually think this 2001 low-budget, indie film has a quirky charm that's hard to resist, and credit goes to director/writer/editor Brad Andersen's singular film-making style. It's ostensibly a contemporary love story between two misfits, but he laces the plot with science fiction elements that seem contrived at first until they start to affect the characters tangibly. The irony is that these far-fetched plot developments are what make the movie resonate emotionally. The two people at the center are Ruby Weaver, a single woman with an unfortunate track record of enabling men to meet her lowest expectations, and Sam Deed, a stranger from Dubuque who may be either mentally ill or a time traveler from the year 2470. Ruby is immediately drawn to Sam's sincerity but when he confesses to coming from the future, she inevitably feels like she is recycling old behavior by trying to save him from his delusions.

It reminds me a bit of John Carpenter's 1984 "Starman" (where an alien takes the form of a woman's dead husband) and a touch of Hal Ashby's 1979 "Being There" (where an insulated gardener tries to make sense of the world around him). However, Anderson puts his own idiosyncratic stamp on the movie by making Sam's seemingly insane assertions credible and Ruby's attraction alternately frustrating and empathetic. The acting by the two leads helps considerably here. Suffering from premature Oscar ejaculation, Marisa Tomei has slowly recovered her acting credentials, and this performance is among her best as she dexterously brings out all the hesitation and vulnerability in Ruby. As Sam, Vincent D'Onofrio tempers his trademark intensity with a genuine sweetness that makes his child-like wonder believable. Holland Taylor effectively tones down her sassy persona to play Ruby's impervious therapist, while Tovah Feldshuh grounds the film with warmth and sensibility as Ruby's mother. The ending is clever with a nice use of stop-motion photography, even if it felt slightly derivative of the legendary "Star Trek" episode where Bones is stopped from saving a peace-loving missionary (played by Joan Collins, of all people) about to be killed. This one is more infectious than you may be assuming from the set-up.

WOW!!

I had heard good things about this film, had liked Session 9 a lot, and will watch anything with d'Onofrio. Even so, this film completely blew me away.

It's science-fiction for adults, who prefer ideas and emotions to explosions and goofy makeup.

It's romantic dramedy at its best, with two memorable characters portrayed by highly skilled and REAL actors. In fact both Tomei and d'Onofrio are close to perfect in these roles.

It's a premise that continues to develop over the entire span of the film, never becoming predictable or plot-driven.

It offers striking supporting performances from Holland Taylor and Jose Zuniga, and a flat-out GREAT scene with Tovah Feldshuh that's driven by subtle and moving screenwriting.

It offers memorable and witty cameos from Mike McGlone and Anthony ("just call me Michael") Hall. And you gotta love the conceit of a guy who fantasizes about being A.M. Hall during sex!

From the opening shot to the end, it offers countless felicities of mise-en-scene, camera movement, framing, and editing, courtesy of Brad Anderson.

And there's a final shot that manages to be both very subtle and emotionally complex, while still seeming completely inevitable.

I even liked the loose ends that were never wrapped up!

SEE THIS FILM!