Y’know, I recently had my tear ducts replaced with the new turbo model. They don’t jam up as much, but they sometimes misfire and occasionally leak. It can be a little embarrassing, particularly at a film like Moonlight Mile. After all, I might have drowned.
The story begins shortly after the death of Joe Nast’s (Jake Gylenhaal) fiancé at the home of the deceased's parents Ben (Dustin Hoffman) and Jojo Floss (Susan Sarandon). The plan was for Joe to become a member of the family and go into the commercial real estate business with Ben. But rather than being joined by a wedding, the three are joined by loss. However, when Joe meets a lonely girl named Bertie (Ellen Pompeo), it becomes difficult to resolve everyone’s expectations.
What this film lacks in narrative drive, it more than makes up for with excellent acting and intelligent introspection into an unusual relationship. It deals realistically with the question of how someone is supposed to deal with in-laws that never were. From Joe’s confusion, to Ben’s denial, to Jojo’s anger, each character is presented in a way more authentic than we’re used to. Much of this is due to the strong and honest acting throughout the film. Gylenhaal, though saying little more than he did in Donnie Darko, delivers a performance convincing and powerful enough to move even a cynic like myself. Three of his monologues are simply outstanding. Hoffman delivers as well, but is almost paled in comparison to Susan Sarandon, who makes Sissy Spacek’s dish-breaking in In the Bedroom seem hysterical. Ellen Pompeo may be perpetually squinting through eyes welled up with tears, but she’s easy for us to fall in love with. Solid supporting roles include Holly Hunter and Dabney Coleman.
Director Brad Silberling does an all-around satisfying job, but his experience directing shows like “Felicity” sometimes shines through a little too much. Some moments that would be otherwise moving, become a bit overwrought, particularly towards the end. Moonlight Mile is a relationship drama, which essentially excuses it from having much of a plot. But it’s easy to consider this film a success, because everyone should be able to understand at least one of these characters, much facilitated by the expert acting. Above all, I feel for their loss. I want them to be well. And when you leave the theater with feelings and wishes other than disdain and destruction, then you’ve probably seen a good movie. A-
