You will be redirected back to your article in seconds

Love Hurts

Buried somewhere deep inside is a perfectly likable, sitcomish romantic comedy.

With: Richard E. Grant, Carrie-Anne Moss, Johnny Pacar, Jenna Elfman, Janeane Garofalo, Camryn Manheim, Rita Rudner, Jeffrey Nordling.

There’s a perfectly likable, sitcomish romantic comedy buried somewhere deep inside Barra Grant’s indie “Love Hurts,” but it would have taken some very significant rewrites to unearth it. What’s left on the surface is an ungainly, at times cringe-worthy succession of tame, telegraphed romantic mishaps, well-intentioned if unconvincing sentimentality, and some of the least authentic teenage dialogue this side of the “Friday the 13th” franchise. Opening Friday in limited release in Los Angeles, the pic faces a steep, uphill battle.

Film toplines Richard E. Grant (no relation to the helmer) as Ben, an uptight ear, nose and throat doctor who brings to mind an alternate universe in which Jerry Lewis has been cast as the lead in “American Beauty.” The character is clearly intended to be broadly drawn, but Grant himself seems to have no idea how to play certain scenes, and so just goes for broke, furiously flailing about. As the film opens, he is left by long-suffering wife Amanda (Carrie-Anne Moss), who jets off to stay with a sassy friend (Camryn Manheim) and cavort with a Fabio-chested new boyfriend (Jeffrey Nordling).

Crushed, Ben dedicates himself to moping around the house, wailing and wearing his wife’s scarves while drinking sloe gin fizzes (the poor guy is so out of touch, he doesn’t even know middle-aged men are supposed to take to whiskey after a breakup). His heartthrob son, Justin (Johnny Pacar) — surrounded at all times by a trio of buddies who may well have been extras on “Degrassi” — decides to take Dad under his wing, explaining that in order to “get back into the big leagues” and win back his wife, he’ll have to spend “some time in the minors,” i.e., shtupping a string of disposable, less attractive women.

This premise — oversexed teenager helps his nebbish father get laid — could be winningly creepy in the right hands, but here it just represents the shortest route to a makeover sequence, with a new suit and a Brian Grazer-esque haircut transforming Ben from a simpering pile of goo into an instant ladies’ man. Jenna Elfman and Janeane Garofalo have thankless roles as two of his conquests (considering the shallowness of the female parts here, it comes as something of a surprise that the film was written and directed by a woman).

The surest indication that the script needed major revamping is the proliferation of comedic loose ends; punchlines seem to arrive with no setups, and extensive comic architecture is constructed and then left abandoned. The pic includes sequences of both an overly amorous dog and an uptight adult accidentally ingesting marijuana-infused baked goods — essentially the two nuclear options of slapstick comedy — yet forgets to even make jokes about them. The dog humps Ben’s leg, then stops; the middle-aged square gets briefly stoned, then goes home quietly. End scene.

On a craft level, the film looks and sounds just fine for its modest ambitions and budget.

Love Hurts

Production: A Lantern Lane release of a Pageant Productions production. Produced by Brian Reilly. Executive producer, Laura Hopper. Co-producer, Sara Mattison. Directed, written by Barra Grant.

Crew: Camera (color), Alan Caso; editor, Roger Bondelli; music, Mark Adler; music supervisor, Frankie Pine; production designer, Dina Lipton; art director, Natalie Richards; costume designer, Johanna Argan; sound, Steve Morantz; supervising sound editor, John Chalfont; casting, Emily Schweber. Reviewed at Aero Theater, Santa Monica, Nov. 9, 2009. MPAA Rating: PG-13. Running time: 94 MIN.

With: With: Richard E. Grant, Carrie-Anne Moss, Johnny Pacar, Jenna Elfman, Janeane Garofalo, Camryn Manheim, Rita Rudner, Jeffrey Nordling.

More Film

  • Aladdin

    Box Office: 'Aladdin' Taking Flight With $105 Million in North America

    Disney’s live-action “Aladdin” is flying high with an estimated $105 million in North America during the four-day Memorial Day holiday weekend. It’s the sixth-highest Memorial Day weekend total ever, topping the 2011 mark of $103.4 million for “The Hangover Part II.” The top total came in 2007, when “Pirates of the Caribbean: At World’s End” [...]

  • Agustina San Martin Talks Cannes Special

    Agustina San Martin Talks Cannes Special Mention Winner ‘Monster God’

    CANNES – An exploration of the ramifications of God, “Monster God,” from Argentina’s Agustina San Martín, took a Special Mention – an effective runner’s up prize – on Saturday night at this year’s Cannes Film Festival short film competition. It’s not difficult to see why, especially when jury president Claire Denis own films’ power resists [...]

  • Atlantics

    Netflix Snags Worldwide Rights to Cannes Winners 'Atlantics,' 'I Lost My Body'

    Mati Diop’s feature directorial debut “Atlantics” and Jérémy Clapin’s animated favorite “I Lost My Body” have both been acquired by Netflix following wins at Cannes Film Festival. “Atlantics” was awarded the grand prix while “I Lost My Body” was voted the best film at the independent International Critics Week. The deals are for worldwide rights [...]

  • Stan Lee, left, and Keya Morgan

    Stan Lee's Former Business Manager Arrested on Elder Abuse Charges

    Stan Lee’s former business manager, Keya Morgan, was arrested in Arizona Saturday morning on an outstanding warrant from the Los Angeles Police Department. The LAPD’s Mike Lopez confirmed that the arrest warrant was for the following charges: one count of false imprisonment – elder adult; three counts of grand theft from elder or dependent adult, [...]

  • Moby attends the LA premiere of

    Moby Apologizes to Natalie Portman Over Book Controversy

    Moby has issued an apology of sorts after writing in his recently published memoir “Then It Fell Apart” that he dated Natalie Portman when she was 20 — a claim the actress refuted. “As some time has passed I’ve realized that many of the criticisms leveled at me regarding my inclusion of Natalie in Then [...]

  • Bong Joon-ho reacts after winning the

    Bong Joon-ho's 'Parasite' Wins the Palme d'Or at Cannes

    CANNES — The 72nd edition of the Cannes Film Festival wrapped with jury president Alejandro González Iñárritu announcing the group’s unanimous decision to award the Palme d’Or to South Korean director Bong Joon-ho for his sly, politically charged “Parasite.” Following last year’s win for humanistic Japanese drama “Shoplifters,” the well-reviewed Asian thriller represents the yin [...]

  • Invisible Life Brazilian Cinema

    Cannes Film Review: 'The Invisible Life of Eurídice Gusmão'

    A “tropical melodrama” is how the marketing materials bill “The Invisible Life of Eurídice Gusmão.” If that sounds about the most high-camp subgenre ever devised, Karim Aïnouz’s ravishing period saga lives up to the description — high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de [...]

More From Our Brands

Access exclusive content