'Sweet November' not good in any month

by Lauren Gross
Staff Writer

Sweet November is far more problematic than the release date. A film about November …in February?

This movie can best be compared to a Sarah McLachlan song — aggravating and overplayed. McLachlan fortunately was not on the soundtrack, but still there's no hope.

It is the burned-out tale of two lovers who meet by chance, this time at the Bureau of Motor Vehicles. Sara Deever (Charlize Theron ) is free-spirited and enamored with life, while Nelson Moss (Keanu Reeves) is tight-ended and work-obsessed. Sara has month-long relationships where she tries to help her partners appreciate life. Nelson has been in a long-term, heartless relationship.

On the same day Nelson loses his job and his girlfriend, the fun begins. After an underdeveloped start to a relationship, Sara invites Nelson to be her November.

During the month of November, Sara is able to change Nelson and help him to appreciate all that life has to offer. In the process, they fall in love and Nelson proposes that every month can be November. After this, far too late in the film, the drama begins.

It is hard to explain why Reeves continually is cast in lead roles, as his monotonous voice and unexpressive acting is always present. Nelson Moss is no exception — strike one.

Although Reeves has ruined a lot of movies, Sweet November's demise is a joint effort.

Setting aside the casting mistakes, the next big flaw is editing. Anne V. Coates compiles a lot of footage, but doesn't pay attention to the little things like costuming and locations, which damages the continuity of the film — strike two.

The screenplay originally was written in 1968 and starred Sandy Dennis and Anthony Newly. Then it was considered a romantic classic, and it probably was fresh and appreciated.

Thirty-three years later, it is hard to swallow without vomiting. The fact that Irish director Pat O’Connor (Circle of Friends) decided to remake and reuse such a script leads to strike three. And that's "out."

The only somewhat-redeeming aspect is Sara, saved by Theron. With her classic beauty and dashing charm, she brings a gleam of light to this miserable film. Unfortunately, Sweet November is not resume material for her climb up the cinematic ladder.

The ending of the film is as disappointing as its other features. Instead of wasting money on it, play McLachlan on repeat.

She describes this movie best: It is "simply not good enough."