Last Kiss

If you haven't the original Italian movie this is based on, do yourself a favor and watch it instead of this. If you already have watched the remake, you can still go and revisit the story which is handled way better. Of course you will feel differently about the Remake and like it much more than my rating is suggesting at the moment. But if you take my advise you might see where I'm going with this.

While Zach and others are doing a decent job, you'd expect the movie to capture the essence way better than it actually does. If you have seen Garden State you might even be disappointed by the lack of effort (or at least it feels like a lack). Relationships are hard work, remakes are even harder work ... or not

I browsed through twenty-something user comments just to be sure, but not one of them seems to mention, that this film is actually a remake of the 2001 Italian film L'ultimo bacio. And although I can't say, that the American version is bad, but it is somewhat disappointing after seeing the original, which is far superior in every aspects.

First of all, I don't deny, that Paul Haggis is an excellent script-writer, but he shouldn't be given credit for this one, for the plot line is pretty much the same (there are some differences, but they're, I think, for the worse - for example the college girl character is actually an 18-years-old high school student in the Italian version, and has somewhat different characteristics).

Also, the acting of the Hollywood version ranges from OK to quite good, but the Italian cast simply blew me away - incredible performances all over.

All in all, I don't want to diminish this film, I won't give it a bad rating, but I just can't think of an argument why this version should be preferred over the original, so if you have a choice, do yourself a favor and see L'ultimo bacio instead.

Don't necessarily expect to see the next step in Andrew Largeman's life. While the trailer makes you think "Hey, it's Zach Braff playing another guy who is confused about his life, and not sure where to go from here", The Last Kiss does offer a little more. For one its much more mature, and the characters are all flawed (and not in cute 'Natlalie Portman lies to get people to like her' ways) and they are all real. The performances were far better than i expected, the entire cast shines. The movie succeeds in appealing to everyone. No matter who you are and what state your romantic life is in, you will find someone to relate too.

Jacinda Barrett finally gets to show some acting skills, and comes through beautifully. Casey Affleck is great. Zach Braff makes me understand why he wants something different, despite the fact that Jacinda Barrett seems so lovable. And the biggest surprise is Rachael Bilson. Early on she seems as if she is playing Summer Roberts on the big screen, but as her character unfolds she simmers with sex appeal, and was able to break my heart with just a simple gesture.

The Last Kiss succeeds in letting its actors shine, and if anything you should see it for its great soundtrack.

"And he knew, before he could kiss her, he must drive something out of himself. And a touch of hate for her crept back again into his heart." D. H. Lawrence, Sons and Lovers

I don't know about you, but maintaining love amid the pressures of modern society makes me feel every time as if this is the last kiss, even in a long term relationship. Will she tire of me or I of her? Will a baby change everything? Will marriage lock me in to my future without my control?

These and other contemporary issues such as realistically understanding parents' adult-love situations are the purview of The Last Kiss, an intense melodrama that watches the disintegration and sometimes rehabilitation of every relationship in the film, including a parents' seemingly perfect union.

As writer Paul Haggis did with Million Dollar Baby and Crash, he fashions reality-like dialogue around common struggles, which he elevates to universals. For example: "The world is moving so fast now that we start freaking long before our parents did because we don't ever stop to breathe anymore." This is not Eugene O'Neill, but it may be closer to modern idiom than the noted playwright's work.

In other words, these situations sound more real than reality TV, even though both are scripted, possibly because this film does not attempt to glamorize or accessorize the everyday challenges of maintaining love. Ibsen crossed with Pinter is the closest I can come to the style and tone of The Last Kiss, as good an explication of modern romance as we're going to get this year.

Granted, the people in this film are better looking than we and have more leisure time to agonize than we do, but then the beauty of art is in excising the mundane and exposing the big issues often played out by the beautiful. I fault the film only for its absolute adherence to reality, which does not admit elevated language while other elements are heightened such as the beautiful parents' home and the temptress's unworldly seductiveness.

Be prepared to face yourself if you have a last kiss.

I know I saw the 2001 Italian original, but didn't remember much about it until I saw Tony Goldwyn's remake and the scenes and story came back. And it then surprised me how much of the original I managed to remember. That's also possibly because Oscar-winner Paul Haggis' screenplay sticks awfully close to its Italian origins.

I am a fan of Zach Braff's work. "Scrubs," for my dough, is the best half-hour comedy on TV and his directorial debut, "Garden State," was one of the best films of 2004.

"The Last Kiss" is not a romantic comedy by any stretch of the imagination, no matter what advertising campaign the studio launched. This is a well-acted, well-told story about the dumb things we men do to the women we love. And, of course, the consequences.

The film delves deeply into the insecurities of its characters, never offering pat answers or easy resolutions. There are no Richard-Gere-climbing-the-fire-escape-to-get-Julia Roberts moments in the film.

Braff plays Michael, a 30s man facing the harsh reality that the rest of his life has been plotted out and he longs for something different. Despite having a gorgeous fiancée Jenna (the lovely Jacinda Barrett), he finds temptation around the corner.

The film balances its three subplots well. They never interfere with the Michael-Jenna saga, yet add to the complexities of the story.

However, I found it interesting that while in the Italian film, the object of the protagonist's desire was a high-school Lolita, Haggis and Co. opted to make her - in this case, Kim (Rachel Bilson) - a college student. The Italian film tends to be a bit more potent on that level, though Michael's attraction to Kim is believable.

The performances all find the right pitch. Braff is completely believable as the confused young man in search of meaning to his life. Barrett is heartbreakingly good. There also are some terrific supporting performances from Casey Affleck, Blythe Danner and Tom Wilkinson. Then again, when was the last time you saw Wilkinson perform badly?

Couples should see this film. It's a mature, thoughtful, unpretentious, and sometimes even difficult, movie to see. But it is gratifyingly good. Don't go expecting a typical fluffy date movie. This film raises interesting and important questions about couplehood and then lets you figure out the answers. When was the last time a Hollywood film did that?