Man on a Ledge

Posted on January 27, 2012 at 9:10 am

It wants to be a twisty-turny thriller but it is as straightforward as its title.  A man we will later know as Nick (Sam Worthington) checks into a New York hotel, orders room service (we see he has a scraped knuckle), and then he opens the window and goes out onto the ledge.  Nick is indeed a man on a ledge for just about all of the rest of the movie.

Police negotiator Jack Dougherty (Edward Burns) comes in, ready to go by the book to talk Nick back inside, to make him feel that Nick can trust him.  But Nick insists he will only talk to Lydia Mercer (Elizabeth Banks) and Jack does not have much to bargain with.  So, against his better judgment, he tracks down Lydia, who is in disgrace with the department following a negotiation gone wrong that left her torturing herself.  She has had no previous contact with Nick and has no idea why he called her, but she knows that establishing a connection with a suicide risk is critical so she is hopeful that whatever reason was behind his request will give her a place to start.

The story splits in three.  We get a flashback that tells us a little bit about why Nick is so desperate.  And we see that on the same block he overlooks on the ledge, a young couple (“Billy Elliot’s” Jamie Bell and the luscious Genesis Rodriguez) seem to be undertaking an exceptionally well-planned hi-tech heist.   And we also meet Ed Harris as an arrogant Mr. 1%-er-style bully, chewing on an enormous cigar and barking orders: “Get me the mayor!”

We’re pretty sure how it’s all going to come together and none of it holds up to any sort of logic or reality check, but there are some entertaining moments along the way.  I admit to being a sucker for heist films.  I love to see the way they plan to overcome all of the security measures and I love to see what happens when things go wrong.  Bell and Rodriguez have a fine rapport and their progress through the many layers of protections provides some momentum to balance the static setting on the ledge.  Eventually, Lydia discovers Nick’s true identity (preposterous plot element #1 is that given his situation it is impossible to believe that no one recognizes him), a police helicopter and (of course) an obnoxious TV news reporter (Kyra Sedgewick, clearly enjoying herself very much) almost throw him off (literally, in the case of the chopper), but Nick stays focused.  Worthington’s performance is bland, Harris barely qualifies as one-dimensional, and the plot falls apart in the last half hour, but Banks and Rodriguez lend warmth and humor, doing a welcome bit of heisting of their own in stealing the movie from their male co-stars.

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Crime Drama

Life or Something Like It

Posted on December 13, 2002 at 5:17 am

It’s been months since we have had a good old-fashioned date movie and that makes this one particularly welcome.

Angelina Jolie plays Lanie, a television news reporter in Seattle who thinks her life is just about perfect. For her, that means a great apartment, great friends, a great fiance, and a shot at her dream job on the network. And perfection is what she strives for, from the tip of her cotton candy hair helmet to the calves that show the effect of thousands of hours on a stairclimber. She never questions what she wants or what she has to do to get there.

But she is sent to do a story on a homeless man who predicts the future, and he tells her what the score will be in the football game to be played later that day. He tells her that it will hail the next morning. And he tells her that she will not get the job she wants, and has only a week to live. When the first two predictions come true, she begins to think that she might just have a week to live, and that her life is not so perfect after all.

Where did Lanie get her ideas about what constiituted perfection? There is some nonsense about sibling rivalry with a sister who has a rich husband and a fancy house. What makes more sense is that Lanie gets her idea of perfection from the very place she seeks it, television. With an indestructible platinum helmet hairdo, flawless muscle tone, and a baseball player fiance, she is a cross between Marilyn Monroe and Barbara Walters. Her idol is Deborah Connors (Stockard Channing), the queen of interviewers, who always gets her subjects to cry.

The prospect of having no more time makes Lainie think about what she was postponing. The first surprise is who she asks for advice. She turns for help to a man she thought she hated, Pete (Edward Burns), her cameraman. He tells her to talk to the people she cares about most.

The script has no surprises, but Jolie and Burns have a nice rythym as they constantly ask each other to define their words. It is easy to believe that they would both be attracted to someone who doesn’t let them get away with easy charm. The biggest surprise is Jolie in a role clearly designed for someone like Meg Ryan or Sandra Bullock. She doesn’t let Lanie get too cute and shows us Lanie’s vulnerability, inescurity, and her capacity for giddy joy.

Parents should know that the movie has some strong language. An unmarried couple lives together and there are references to a drunken sexual encounter and an out of wedlock pregnancy. Getting drunk is portrayed as freeing. There is non-graphic violence. Some viewers may be upset by the seer’s prediction. And some younger viewers may be disturbed by the reference to divorced parents, even though it is amicable.

Families who see this movie should talk about how we decide what “perfection” means to each of us and whose approval matters most to us. How do we live in a way that balances planning for the future with recognizing what is important in the present. How do our family dynamics transfer over into our work relationships? Why didn’t Lanie understand how important she was to her father?

Families who enjoy this movie will also enjoy the black and white classic “Theodora Goes Wild.” They will also enjoy Martha Beck’s book “Following Your North Star.”

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Date movie Drama
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