Happy Accidents

The only reason I selected this movie as a rental was because Vincent D'onofrio was on the cover. I am a committed VDO fan and was not disappointed with this selection. This romantic comedy plays out beautifully on the screen and the element of time travel is handled with a refreshing spin of originality.

Both Tomei and D'onofrio provide captivating performances the range of emotions they both convey make their chemistry on screen very pleasant to watch and their characters very believable.

I also found the score to be an interesting touch that adds a light air of wonderment and mystery in just the right spots. My favorite spots were the flute solo in the beginning after Sam (D'onofrio) meets Ruby (Tomei) outside her apartment, it adds a feeling of innocence to a situation that ordinarily would not be described as such. The second is at the end when they meet at the intersection of Chrystie and Delancy after the much anticipated "moment" passes.

Please rent this movie and discover your own reasons for falling in love with it. You will soon find yourselves committed to adding it as a permanent addition to you DVD library!!

A great, low budget indy that was very enjoyable and well made! Great storyline which can keep you involved to the very end, and you should stick around. The movie should have had better marketing when it was released so that it could have reached a larger audience.

D'nofrio plays a great character that catches you and takes you on a ride. Marissa Tomei also shines. She gives another great performance as a concerned and confused lover, burned in the past and now wondering what comes next. You can see that they had a lot of fun working on the films. Check out the cameos, they're a hoot. Especially the scene in the art show. Rent or catch on IFC and you will not be disappointed

I actually think this 2001 low-budget, indie film has a quirky charm that's hard to resist, and credit goes to director/writer/editor Brad Andersen's singular film-making style. It's ostensibly a contemporary love story between two misfits, but he laces the plot with science fiction elements that seem contrived at first until they start to affect the characters tangibly. The irony is that these far-fetched plot developments are what make the movie resonate emotionally. The two people at the center are Ruby Weaver, a single woman with an unfortunate track record of enabling men to meet her lowest expectations, and Sam Deed, a stranger from Dubuque who may be either mentally ill or a time traveler from the year 2470. Ruby is immediately drawn to Sam's sincerity but when he confesses to coming from the future, she inevitably feels like she is recycling old behavior by trying to save him from his delusions.

It reminds me a bit of John Carpenter's 1984 "Starman" (where an alien takes the form of a woman's dead husband) and a touch of Hal Ashby's 1979 "Being There" (where an insulated gardener tries to make sense of the world around him). However, Anderson puts his own idiosyncratic stamp on the movie by making Sam's seemingly insane assertions credible and Ruby's attraction alternately frustrating and empathetic. The acting by the two leads helps considerably here. Suffering from premature Oscar ejaculation, Marisa Tomei has slowly recovered her acting credentials, and this performance is among her best as she dexterously brings out all the hesitation and vulnerability in Ruby. As Sam, Vincent D'Onofrio tempers his trademark intensity with a genuine sweetness that makes his child-like wonder believable. Holland Taylor effectively tones down her sassy persona to play Ruby's impervious therapist, while Tovah Feldshuh grounds the film with warmth and sensibility as Ruby's mother. The ending is clever with a nice use of stop-motion photography, even if it felt slightly derivative of the legendary "Star Trek" episode where Bones is stopped from saving a peace-loving missionary (played by Joan Collins, of all people) about to be killed. This one is more infectious than you may be assuming from the set-up.

I tend to like character-driven movies and am quickly put off by movies that follow one of the familiar Hollywood stories. This movie successfully ventures into interesting and largely untested ground.

The story is about a man (Vincent D'Onofrio) who becomes romantically involved with a woman (Marisa Tomei) who has a history of co-dependence and failed relationships. He claims that he is from the future. The plot takes us on the journey of their relationship and her questioning of the truth to his claims vs. whether he is another in a string of loser guys that she seems to cling to.

The plot synopsis sounded a little odd, but it was my hope that these two talented actors could pull it off. Both Tomei and D'Onofrio turn in excellent performances. They present complex, interesting and flawed characters who engage our interest. The writing is very good and enjoyable.

My only complaint is the the story sags a little about 2/3 of the way through. A little tighter editing of about 10 minutes of essentially redundant scenes would have made the movie a more engaging.

I rate it a 8/10 and encourage those who like well-written, character-driven movies to check this one out.

WOW!!

I had heard good things about this film, had liked Session 9 a lot, and will watch anything with d'Onofrio. Even so, this film completely blew me away.

It's science-fiction for adults, who prefer ideas and emotions to explosions and goofy makeup.

It's romantic dramedy at its best, with two memorable characters portrayed by highly skilled and REAL actors. In fact both Tomei and d'Onofrio are close to perfect in these roles.

It's a premise that continues to develop over the entire span of the film, never becoming predictable or plot-driven.

It offers striking supporting performances from Holland Taylor and Jose Zuniga, and a flat-out GREAT scene with Tovah Feldshuh that's driven by subtle and moving screenwriting.

It offers memorable and witty cameos from Mike McGlone and Anthony ("just call me Michael") Hall. And you gotta love the conceit of a guy who fantasizes about being A.M. Hall during sex!

From the opening shot to the end, it offers countless felicities of mise-en-scene, camera movement, framing, and editing, courtesy of Brad Anderson.

And there's a final shot that manages to be both very subtle and emotionally complex, while still seeming completely inevitable.

I even liked the loose ends that were never wrapped up!

SEE THIS FILM!