The Last Kiss*

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“The Last Kiss”

Starring: Zach Braff, Rachel Bilson, Jacinda Barrett, Tom Wilkinson and Blythe Danner

Rated R for Sexuality, Nudity and Language

Rating: B –

By Jo Lee

Confused boyfriends, young seductresses, shouting matches and quarter-life crises sound like an episode of Maury Pauvich. Instead these elements make up the premise of the new Zach Braff movie, “The Last Kiss.”

In this overly melodramatic adaptation of the Italian movie, “L’Ultimo Bacio,” Michael (Braff) seems to have a wonderful life, including a perfect girlfriend of three years who is pregnant. However, when all Michael envisions for his future is a 9-to-5 job, a mortgage and 2.4 kids, panic sets in.

On cue, in walks the stunning co-ed Kim, (“The O.C.’s” Rachel Bilson), whose college life seems utterly uncomplicated. Two years away from graduating, Kim is interested in Michael and not shy about it. When Kim, simultaneously a bold, flirtatious temptress and a naïve ingénue, makes Michael an offer, he can’t turn dismiss her. Consequently, his life spirals out of control.

Braff is effective as the sweet but misguided Michael, who is at a crossroads in his life. Braff, who admitted to tweaking some of his dialogue, carries the movie with his dry wit and perfectly timed humor. Jacinda Barrett delivers a lackluster performance as Braff’s live-in girlfriend, Jenna. Her only memorable moment is calling Michael a slut then brandishing a knife at the philandering father of her unborn child.

Paul Haggis, screenwriter and back-to-back Oscar winner for “Million Dollar Baby” and “Crash,” fails to impress in his adaptation of Gabriele Muccino’s 2001 film. This movie tells a run-of-the-mill story about getting lost in one’s own life. As Kim says when meeting Michael, “The world is moving so fast now that we start freaking out way before our parents did.” Indeed, “freaking out” is a constant occurrence in the film, as Michael and his band of underdeveloped, one-dimensional friends try to figure out their lives.

There’s commitment-phobe Kenny (“Dumb and Dumberer’s” Erik Christian Olsen) who can’t be with a woman longer than it takes him to redress. Casey Affleck gives an underwhelming performance as Chris, a man overwhelmed by work, a wife and baby. Then there’s the guy whose life just plain sucks. In one scene, single, jobless Izzy, (“Garden State’s” Michael Weston), cries to his ex-girlfriend that he still loves her. This interaction comes across as pathetic and desperate more than sweet and romantic.

Neither Oscar nominee Tom Wilkinson nor Emmy winner Blythe Danner give career-high performances as Jenna’s formulaic, unhappily-ever-after parents. Wilkinson and Danner do bring more depth to their characters than their less-experienced cast-mates; however, even their characters are at times reduced to the roles that plague their daughter and her friends.

Bilson’s flawless portrayal of Kim is a breath of fresh air amidst this histrionic fighting. Her palpable chemistry with Braff makes their scenes some of the most enjoyable and a welcome break from the fighting. Even though Kim is “the other woman,” the innocence Bilson brings to Kim’s character makes it impossible to dislike her.

Director Tony Goldwyn’s attempts to convey passion and emotion through intense fight scenes fall short, and they end up looking like scenes from MTV’s “The Real World.” The verbal battles and tear-fests take up much of the movie and bring about an oppressive air. Watching these scenes makes the audience feel sorry at how pathetic the characters’ lives are instead of invoking a sense of empathy or compassion.

It is actually in the movie’s quieter, more subdued moments that Goldwyn (“Grey’s Anatomy”) succeeds at showing the pain and confusion Michael both causes and suffers. In these beautifully shots scenes underscored by Braff’s handpicked indie soundtrack, the film finally connects with the audience.

When Kim innocently brings Michael a mixed CD only to find out he’s going to be a father, she doesn’t scream like the other characters. Her eyes fill with tears and she softly asks him why. That scene is at once more emotional and gut wrenching than all the yelling scenes combined. Tender, poignant moments like this breathe life into the sometimes-stifling film, making the seemingly endless shouting scenes somewhat more endurable. Some aspirin wouldn’t hurt, either.

"The Last Kiss"

Verdict: Mediocre movie not recommended for serial monogamists.

Grade: C+

By Allison Loudermilk

Don’t go see “The Last Kiss” with a date. This messy relationship movie will have you wondering if the person sitting next to you is The One. Probably not, if this remake of the Italian film “L’Ultimo Bacio” has anything to say about it.

Reprising his role as the goofy, sensitive soul of “Scrubs” and “Garden State,” Zach Braff stars as Michael. Nearing their 30s, he and his three buddies are teetering on the brink of crises brought on by commitment, marriage, kids, and in Michael’s case, a hot, young co-ed catalyst named Kim (Rachel Bilson of “The O.C.”). Once, these kinds of crises might have been reserved for middle-aged men, but no more.

“The world is moving so fast now that we start freaking out way before our parents did because we don’t ever stop to breathe anymore,” Kim says earnestly.

Indeed.

The script makes it hard to feel sorry for these guys. On paper, their lives don’t seem that bad. Michael and his beautiful, smart girlfriend Jenna (Jacinda Barrett) are in love and on the verge of big events like babies, houses and the m-word. Enter Kim, who meets Michael at a wedding and is every girlfriend’s worst nightmare — pretty, fun, uninhibited and 18.

We’re also supposed to sympathize with Michael’s friend Chris (Casey Affleck), who is married with a toddler and a wife who expects him to help out, and with his token single friend Kenny (Eric Christian Olsen), who gets a lot of action.

Blythe Danner, as Jenna’s mom Anna, has them all beat in the acting and the sympathy departments. Even as a minor character, she is easily the best-drawn female role, as opposed to the hastily sketched parts of Jenna, Kim and Chris’s wife Lisa (Lauren Lee Smith). For a movie that attempts to unflinchingly examine relationships and life choices, the underdeveloped female characters are a big script omission by screenwriter and Hollywood golden boy Paul Haggis.

Anna’s rebellion against her deadened 30-year marriage provides one of the movie’s most powerful scenes. Bravely venturing to the gym by herself, she breaks down after she can’t figure out the treadmill. The scene is shot and framed beautifully, as is much of the movie, with the older mom on her knees weeping alone before the darkened, rain-slicked window of the gym.

Does that sound depressing? It is. About two-thirds through the movie, a friend I brought with me left to go shopping, saying the film contained all of her darkest relationship fears.

Dragged down by its weighty themes, “The Last Kiss,” directed by Tony Goldwyn, offers little light besides super sexy Bilson, who was fun to watch and not coincidentally resembles a younger Barrett.

Bilson isn’t given much to work with. One scene has her brightly saying “relationships either work or they don’t.” Uh, thanks for the insight. And when they’re heading down the wrong path, make a mix tape.

If only this movie were a mix tape, it would be great. As with “Garden State,” Braff handpicked the excellent soundtrack, which includes Snow Patrol, Aimee Mann, Fiona Apple and Rufus Wainwright among others. Otherwise, “The Last Kiss” bears as much relation to “Garden State” as a not very funny second cousin.

Unfortunately though, “The Last Kiss” is much more than a mix tape. It’s a relationship movie with an overwhelmingly male perspective and a too-neat ending. That said, “The Last Kiss” will still draw you into its pathos, and it won’t easily leave your head. Much like a hot young co-ed.