
Just because we already know how the film unfolds doesn’t mean we don’t appreciate the trip. This is especially true when the film has a clever plot and has an Oscar winner play a three-dimensional soggy princess character who is a hot mess, sobers up when the plot thickens and tries to pull the story through the most difficult situations.
Come on, that’s not giving anything away. This is a Boats assuming that everything here has happened in real life and there are photos and updates of the real persons at the end of the credits picture, which from the start already has a habit of making the viewer go through a tear of the eyes with a smile at the ears by the end of the film. I mean, all that we need to understand how the tale goes is a mere look at the juxtaposition of the two title words.
Actress Hillary Swank plays an actress named Sharon who is also a hairstylist and co-owns a salon in Lousiville, Kentucky. Sharon works at the salon during the day and goes out clubbing at night. She has a meeting at the invitation of a friend and walks out only to buy beer at a nearby store. Sharon is at the cashier’s point when her attention is caught by the title of a newspaper.
Desperately ill is five year old Michelle who just lost her mother. Although ten years have passed, Sharon still sees this as an opportunity to help and an opportunity to care. She tries to get in touch with the family during the funeral by introducing herself.
Sharon’s coldness does not escape the notice of their father Ed “Reacher” Alan Ritchson who is unprepared for the urgency of parenting children after experiencing tragedy. He has lost his wife, and now there is a crazed woman begging for attention. Barbara Nancy Travis rides the line between supporting her son and hot-headedness, stating that all men look at women for their physical appearance.
The stepmother however hugs all the children and kisses them claiming she would take good care of them. But she really works hard to capitalize on this chaos by directing the two sisters to distract themselves as much as possible. As the whole family becomes immersed in dysfunction over time, the cutting tone to everything, even the most innocent moments, becomes all that makes up a life worth living.
Ritchson has a tough job playing a cold character who is almost wordless and does not express his emotions as he is terrified that once he does, he will not be able to control himself again. Swank is better off with a character who presents her with a different sort of problems, for example, Sharon is contradictory in her impulsiveness and irresponsibility, but very capable and focused in some other aspects. The pace of the family’s multiple crises and myriad good acts, which the protagonist performs, is such that the emotional value of her achievements is practically leveled out. At the most intense moment, for a screenplay that does not trust its viewers, there is another need to wrap up yet another dismal situation which is completely uncalled for, after an already bleak scenario of horrific disasters capped by an unreasonably optimistic finale typical of Capra’s work where everything is resolved magically and compassionately.
The film’s weak moments are, in fact, its strongest moments, the quieter and more intimate ones that are also more dramatic in emotional content. A deeply moving sequence occurs when both Ed and Sharon candidly discuss their selfish feelings about her mentoring and the link between her tumultuous addictive tendencies and her commitment to salvaging Michelle and her clan. Since Swanks is a straightforward woman, her matter of fact approach to acting as Sharon works beautifully for the pragmatic and strong willed character of Sharon who we all hope will motivate some of us to become more than just the regular.
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