Before you bombard me in the comments with complaints of me being heartless and how could I not feel moved by this film, let me clarify something. I am not heartless. I cried at the end of Atonement, I cry during Stepmom (even if it is a tearjerker much like this one, I'll be damned if Susan Sarandon doesn't sell a melodramatic scene like nobody's business). My point is: I am as emotionally available to a movie as the next guy, but I don't like it when a movie tries to force it out of me. Which is the main problem My Sister's Keeper, the eponymous film adaptation of Jodi Picoult's novel faces. But I'm getting ahead of myself. Let's start with the fundamentals, shall we?
The film is about a family, a family who, after learning their two year old girl suffers from a rare form of leukemia, decides to have a second daughter, genetically engineered to be able to donate as many body parts as her sister might need. Thanks to this, Kate (Sofia Vassilieva)has lived far beyond her initial life expectancy of 5. Her sister Anna (Abigail Breslin), however, has been in and out of hospitals her whole life, all in an effort to prolong Kate's life. When she was born her cord blood was used to treat Kate. This soon progressed to donating blood, bone marrow, stem cells, etc.; all for the benefit of Kate. She loves her sister, so she's willing to go with her mother (Cameron Diaz) Sara's plans to do anything it takes to keep Kate alive. But when Kate's kidneys fail and Anna is about to be forced to donate one of her own, she decides to end it once and for all. She seeks the help of Campbell Alexander, a notoriously successful attorney, in order to become medically emancipated.
This creates a rift between the different members of the family (those who agree with Anna and those who don't) and Sara (who before discovering Kate's disease was a successful lawyer) decides to go against Alexander in court. Here is near where the film hits its first true problem. The film shows us flashbacks of the family from their various points of view (complete with voiceovers). For a tearjerker, this is not anything new and as such (even if it is a tired storytelling method) I had no beef with it. What really bugged me was the way these flashbacks were introduced. Right as we focused on a particular character, the screen fades to black for a few seconds and then we're in the past. It was lazy, clunky, and repetitive.
But let's forget about the direction and plot for a second and consider the performances. While Cameron Diaz's tough mother act was believable and a nice change of pace from her usual comedic roles, it was still nothing new. This is not to say her acting was flawed, but she didn't really add anything to the character either. Alec Baldwin's Campbell Alexander is a nice mix of cheekiness and heart that I didn't expect from him. He's not an exemplary human being but he cares about Anna and Baldwin's performance makes all the difference between corny kindness and engaging sympathy. The true standout here, however, is Joan Cusack as Judge De Salvo. Her courtroom scenes are not anything we haven't seen elsewhere, but her interview with Anna is a very nice scene. She's recently lost her own daughter in a car accident and talking about death with Anna only brings her pain back to the surface. While most actresses might have gone overboard and turned this into a ham session, Cusack makes us feel her pain in as simple and understated a manner as she can muster.
On the main performances arena we have Abigail Breslin's Anna and Sofia Vassilieva's Kate. Not only do they shine in their individual scenes, their sister dynamic is also believable. Breslin is, of course, the better performer of the two. She's convincing when trying to rebel and when concerned for her sister's well-being. This is one of her first truly dramatic roles in the spotlight, and the promise she shows is truly astounding. Sofia Vassilieva's performance is nice, but, oddly enough, I liked her better during the flashbacks. Even though her performance during the present scenes is decent, her I've-accepted-death-and-am-now-calm act is something that plagues this genre. Is it moving? Yes, but it falls to the worst traits of the tearjerker drama. On the flashbacks, however, Vassilieva strikes a nice balance between likable and bratty. Her teenage rebelliousness is a normal response someone in her situation would engage in. She's tired of her disease and of not living like a normal teen and isn't afraid to show it.
This leads me to a particularly poignant aspect of the film. While in the hospital, Kate meets a fellow leukemia patient named Taylor (Thomas Dekker, he of Terminator: The Sarah Connor Chronicles fame). They begin a relationship (both in and out of the hospital) and he even invites her to the hospital's "prom". The scenes detailing their relationship are sweet and touching without descending into sentimentalism. This is all due to the young actors' talent and the script's deft handling of their teenage romance.
Overall, the film is nothing above the standard tearjerker. Some of the problems it has could've been easily fixed by a more skilled director. Also, it's message and sadness are delivered in too heavy-handed a way for us not to feel like it's being shoved down our throats. And what happens when someone shoves something down our throats? We gag and choke, that's what. The film does contain some poignant moments and its honest attempt at portraying the minefield that is bioethics nowadays was not lost on me. Overall, if you're stuck on a bus or plane and this is playing, you won't cringe at it. But you won't exactly be thrilled either.
Le verdict: *1/2
The film is about a family, a family who, after learning their two year old girl suffers from a rare form of leukemia, decides to have a second daughter, genetically engineered to be able to donate as many body parts as her sister might need. Thanks to this, Kate (Sofia Vassilieva)has lived far beyond her initial life expectancy of 5. Her sister Anna (Abigail Breslin), however, has been in and out of hospitals her whole life, all in an effort to prolong Kate's life. When she was born her cord blood was used to treat Kate. This soon progressed to donating blood, bone marrow, stem cells, etc.; all for the benefit of Kate. She loves her sister, so she's willing to go with her mother (Cameron Diaz) Sara's plans to do anything it takes to keep Kate alive. But when Kate's kidneys fail and Anna is about to be forced to donate one of her own, she decides to end it once and for all. She seeks the help of Campbell Alexander, a notoriously successful attorney, in order to become medically emancipated.
This creates a rift between the different members of the family (those who agree with Anna and those who don't) and Sara (who before discovering Kate's disease was a successful lawyer) decides to go against Alexander in court. Here is near where the film hits its first true problem. The film shows us flashbacks of the family from their various points of view (complete with voiceovers). For a tearjerker, this is not anything new and as such (even if it is a tired storytelling method) I had no beef with it. What really bugged me was the way these flashbacks were introduced. Right as we focused on a particular character, the screen fades to black for a few seconds and then we're in the past. It was lazy, clunky, and repetitive.
But let's forget about the direction and plot for a second and consider the performances. While Cameron Diaz's tough mother act was believable and a nice change of pace from her usual comedic roles, it was still nothing new. This is not to say her acting was flawed, but she didn't really add anything to the character either. Alec Baldwin's Campbell Alexander is a nice mix of cheekiness and heart that I didn't expect from him. He's not an exemplary human being but he cares about Anna and Baldwin's performance makes all the difference between corny kindness and engaging sympathy. The true standout here, however, is Joan Cusack as Judge De Salvo. Her courtroom scenes are not anything we haven't seen elsewhere, but her interview with Anna is a very nice scene. She's recently lost her own daughter in a car accident and talking about death with Anna only brings her pain back to the surface. While most actresses might have gone overboard and turned this into a ham session, Cusack makes us feel her pain in as simple and understated a manner as she can muster.
On the main performances arena we have Abigail Breslin's Anna and Sofia Vassilieva's Kate. Not only do they shine in their individual scenes, their sister dynamic is also believable. Breslin is, of course, the better performer of the two. She's convincing when trying to rebel and when concerned for her sister's well-being. This is one of her first truly dramatic roles in the spotlight, and the promise she shows is truly astounding. Sofia Vassilieva's performance is nice, but, oddly enough, I liked her better during the flashbacks. Even though her performance during the present scenes is decent, her I've-accepted-death-and-am-now-calm act is something that plagues this genre. Is it moving? Yes, but it falls to the worst traits of the tearjerker drama. On the flashbacks, however, Vassilieva strikes a nice balance between likable and bratty. Her teenage rebelliousness is a normal response someone in her situation would engage in. She's tired of her disease and of not living like a normal teen and isn't afraid to show it.
This leads me to a particularly poignant aspect of the film. While in the hospital, Kate meets a fellow leukemia patient named Taylor (Thomas Dekker, he of Terminator: The Sarah Connor Chronicles fame). They begin a relationship (both in and out of the hospital) and he even invites her to the hospital's "prom". The scenes detailing their relationship are sweet and touching without descending into sentimentalism. This is all due to the young actors' talent and the script's deft handling of their teenage romance.
Overall, the film is nothing above the standard tearjerker. Some of the problems it has could've been easily fixed by a more skilled director. Also, it's message and sadness are delivered in too heavy-handed a way for us not to feel like it's being shoved down our throats. And what happens when someone shoves something down our throats? We gag and choke, that's what. The film does contain some poignant moments and its honest attempt at portraying the minefield that is bioethics nowadays was not lost on me. Overall, if you're stuck on a bus or plane and this is playing, you won't cringe at it. But you won't exactly be thrilled either.
Le verdict: *1/2
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