Remember Me is a tragedy.  

I’m not talking about the film’s plot or themes, or even the idea that it’s a dead-on-arrival romance. In fact, it isn’t. Surprisingly, Rob Pattinson and Emile De Ravin make a believable and interesting couple and the film actually delves into some effectively dramatic family relationships.

What’s tragic about the movie is that after finding its legs and delivering several wonderful and on-point moments, Remember Me destroys every single thing that came before with an ill conceived, nearly flabbergasting ending that doesn’t just cheapen the film and its characters, but renders them all inconsequential.

Imagine going to the house of a casual friend who often irritates you, sitting down and then being treated to some wonderful cooking and great conversation. Just as you are thinking what a great idea it was to get together, said friend sneaks behind you and brains you with a shovel, and then immediately bolts out the door. It’s exactly like that and it hobbles what was working as a good, poignant romantic drama.

But let me digress from the ending and its obvious troubles and focus on something else. Rob Pattinson is acting here, and on top of that, it’s good acting. Lost’s Emile De Ravin (she’s Claire) shares much of the film’s screen-time with him, and they take this slight, New York-centric indie chick flic and give it honest, emotional gravity. This is particularly an amazing feat given how contrived and heavy the general premise feels.

Pattinson plays Tyler, another angsty twenty-something (as opposed to Ed Cullen’s  angsty 220-something), who’s a heavy drinking, rebellious mess of daddy issues and deep grief. The daddy issues come for distant businessman, Pierce Brosnan, who spent his life financially providing for his family, and saw that as pretty much the end of the responsibility. The grief is from the death of Tyler’s brother, who killed himself 6 years prior and shattered the family even further as a result.

 One night, Tyler drunkenly shoves Sgt. Craig (Chris Cooper) and gets a face full of windshield for his troubles. Craig himself is a brooding type, and with good reason; his wife was murdered on the subway in front of his young daughter. Now that daughter, Ally, is grown-up and played by Ravin. Tyler’s sleazoid roommate, Aiden, identifies her at school and pushes Tyler to date and dump her, as revenge for the officer’s brutal handling of him.

Of course, as is the case of things in a movie like this, they fall for each other and Tyler abandons his plans of vengeance in favor of cuddling, sharing sob stories, and eventually, doing things with Ally that will no doubt make any Twilighters  in the audience pass out and choke on their gummi bears. This plot is old, old news, and I’m not so sure I liked it the first 400 times they walked it out of the gate. But, when you have the right people and the right pieces in the right places, any formula can work (except for torture films and anything with Stephen Baldwin). This one does, I’m almost loathe to admit, largely because of Pattinson.

What the Twilight saga has so thoroughly obscured is Pattinson is a gifted actor with his own sort of charm. Yes, that charm is based off of an aloof, sulking kind of persona, but if you can build a character that exists under that, then there’s something that an actor and an audience can unwrap; you aren’t left with just a pale, pasty straw man eyeing up your neck. Pattinson really pulls up some emotional baggage in Tyler and then he gets to show the young man in the process of throwing that baggage away, and it’s largely due to Ally’s influence on him.

The most welcome surprise of the film is that Pattinson’s best scenes aren’t just reserved for his time with Emile, and he gets some stellar interaction with Brosnan, who’s making a new career out of very juicy bit parts. Tyler also has a kid sister, played by Ruby Jerins, and they have this very warm, sweet relationship that could have generated a different and likely better film all on its own. 

Ravin began as a pretty face on Lost, but she built Claire out of strong stuff and pushed the character through several emotionally tricky circumstances. She’s got a very disarming way of playing notes of distress or sadness, and it helps that she manages to soften and radiate during moments like that. It makes Ally not just credible, but her attraction to Tyler credible too. This isn’t a pairing based off of long moody stares, but shared pain and struggles with family, and the movie has the courage to let the characters work through both factors; the pain and the family.

Unfortunately, we’ve reached that point of the review, where it becomes necessary for me to bring up the film’s end and issue a disclaimer for what has been a positive review. I’m not going into a single spoiler, but quite frankly, there’s no single good reason why the choice was made to shoot this ending. Understand, it’s not just bad, or dishonest, or even inherently divisive to the rest of the film. It’s worse than that; it’s completely overwhelming, the kind of broad, shocking statement that is trying to create context and give us something we can socially connect to.

So, take that into account. If you leave the moment Rob Patt walks out of his dad’s office, you will have still seen a good movie and can go home with the integrity of your 10 dollars intact. If you stay, well I warned you. Some may suggest I should be harder on the film, but the truth is that most of it works and it will serve as a good reminder to fans of Pattinson’s vampire stuff that not every love story is based around pouty looks.

Rating: ★★½☆☆ 

I must admit that by the end of the second act of Nights In Rodanthe, the sappy romantic inside of me was almost won over by the film.  Almost. But about a minute into the third act, the professional film critic in me took over, immediately recognizing the film’s overly sappy final 20 minutes as a form of exploitation on our emotions.  It’s as if the film is trying to bully us into weeping, saying “Look how sad this is.  And this.  And this.  And this!” Now, here’s a lesson for filmmakers when it comes to perfecting a truly moving moment or moments: never, ever pulverize us with extended shots of characters crying their eyes out.  If crying is ever effective and rubs off on the viewer, it’s because it’s used an appropriate amount of time.  But in Nights In Rodanthe, the waterworks just feel obligatory in a way, but that’s what Nicholas Sparks, who wrote the book the film is based on, is known for: sad endings.  Now, fans of Sparks’ work may very well be satisfied with this adaptation, but to anyone else, it’s just another mushy romantic drama.

But that’s not to discredit the rest of the film, which is overall pretty different and relatively easy to sit through.  Even if Nights In Rodanthe contains the usual gimmicks of a romantic drama, what really sells this thing are its two main stars, Richard Gere and Diane Lane.  It’s obvious that the two of them have good chemistry, which translates well to the screen, and their chemistry is easily the best thing about the film.  But the fact that everything eventually became so weighted down in melodrama made it clear to me that while faithful to the dramatic essence of the 212-page novel, the film is really just a play at our emotions when you get right down to it.

Since Nights In Rodanthe comes from a book by Nicholas Sparks, as I mentioned earlier, it of course takes place in my home state, North Carolina.  Set more specifically in the cozy little beach-town of Rodanthe located in the Outer Banks (a lovely vacation destination), the story follows two love-depressed individuals.  Adrienne Willis (Diane Lane) is a deeply committed mother on the fringe of divorce from her cheating husband Jack (Christopher Meloni).  In order to temporarily escape from the hassles of her personal life, Adrienne has agreed to watch over an inn owned by a close friend (Viola Davis), set precariously on the shore of a beach in Rodanthe.  During an extended weekend, the inn has only one guest: Paul Flanner (Richard Gere), a bone-weary doctor still grappling with the consequences of some recent tragedy.  Both Adrienne and Paul are at the Inn during a weekend where a ravaging hurricane is expected to strike the Outer Banks, so they are basically confined there.  And as they gradually come to learn more about each other, they of course fall in love in the time span of a few days; isn’t that how these things always go?  What happens next?  Well, I’m certainly not one to willingly spoil a movie for anybody, but if you’ve seen enough of these sappy romantic movies, then you can make a fairly accurate guess.

I speak from years of firsthand experience when I say that the Outer Banks is a very relaxing and beautiful place to spend a vacation.  My family and I go down there every summer and thoroughly enjoy it.  So I was pretty excited to see certain locations and areas that I’m very familiar with on the big screen.  However, while it was nice to see the Outer Banks used by Hollywood, I was also disappointed by how the producers portrayed the journey there.  The film has Paul come in on a long winding bridge, which is accurate, but then he boards a ferry to travel to Rodanthe.  That last part is entirely false.  After driving across the bridge, Paul would have to drive down a road that would give him about a 20 to 25-minute drive to Rodanthe without crossing a body of water.  What’s more, after departing from the ferry, Paul drives to Rodanthe, but from the opposite direction.  He drives away from the Cape Hatteras lighthouse, when he should traditionally be driving toward it.  In my humble opinion, it wouldn’t have killed the producers to keep the facts straight where the journey to Rodanthe was concerned.

But back to the movie itself, and as I said before, Gere and Lane are the best things about it.  The chemistry that the two of them share makes their scenes together all the more believable and tolerable.  Despite the typical cliches that are thrown out to us amidst the simple plot line, Gere and Lane are able to shine above all those cliches and sell the material well enough.  In fact, even though I’m giving Nights In Rodanthe an overall negative review, I’d still say that it just might be worth your time on a rainy day if you’re at the multiplex and you’ve seen all the other good movies currently playing; I say that because the two stars headlining the picture.  Also, Scott Glenn has a very good small role in the film as a grieving man who may be part of the reason Paul visited Rodanthe in the first place.  Plus, James Franco is also very good but very underused as Paul’s estranged son.

Director George C. Wolfe certainly has the proper vision for the film, as each exterior beach scene perfectly captures the sunny beauty of the Outer Banks.  In fact, he’s so good at that, that at one time I think I actually felt as if I were back on the beach.

But the main two performances and effective eye candy are ultimately outweighed by the roll-your-eyes-at-the-ceiling sappiness that takes center stage at around the end of the second act.  I wouldn’t have minded it if it hadn’t been so drawn out, especially in one scene where the camera lingers a few seconds too long on a character who’s sobbing their eyes out.  Plus, if you’re familiar with Sparks’ work and/or have read the book, it kind of detracts from the whole experience considering you know on what note the film will end.  So, in the end, Nights In Rodanthe is a wave of ocean water that crashes just before reaching the shoreline.

Rating: ★★½☆☆