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“A lot can happen in 12 months,” wide-eyed 20-something Savannah (Amanda Seyfried) tells her new Army boyfriend, John (Channing Tatum), just as he is about to deploy for a year-long tour of duty.
As demonstrated by “Dear John,” the latest screen adaptation of a Nicholas Sparks novel, a lot also can happen in two hours — perhaps too much. The overly ambitious film begins with John and Savannah’s two-week courtship on Charleston’s beaches and spans nearly a decade. It arrives at a choppy final act that sees the unpredictable, but awkward, collision of multiple subplots, all of which were undoubtedly better served in the book.
The good news is, taken as a whole, “Dear John” is a pretty decent date movie, bolstered by some strong performances and components that will appeal to both sexes. Directed by Lasse Hallström, other than a few mushy Sparksian pitfalls, it largely avoids getting hung up on forceful weepiness.
The chief draw is John and Savannah’s long-distance romance, which they maintain via the age-old narrative tool of letter-writing. Tested by tragedies both colossal (9/11) and personal (illness), their evolving bond is presented with more sincerity than one might expect, despite all of the standard-issue pop-song montages. Yet, the real lump-in-the-throat relationship is the one between John and his autistic, coin-collecting father (a wonderful Richard Jenkins), a factor the movie is savvy enough to use to its advantage.
The finer points are dependent upon the two leads’ abilities to transcend the material. Tatum has one deeply poignant scene with Jenkins, but he’s usually straining to deliver dialogue that seems out of sync with his emotions.
Conversely, Seyfried is divine, continuing to hone her craft with poise and finesse. Of all the movie’s goings-on, her acting is what’s truly worth writing home about.
Dear John
PG-13
Two-and-a-half reels out of four
In area theaters tomorrow
A Serious Man
R
Available Tuesday
To be honest, as much as I love the Coen Brothers, their latest — the dark Jewish dramedy “A Serious Man” — isn’t exactly my cup of Manischewitz. The troubles that relentlessly afflict Job-like protagonist Larry (Golden Globe-nominee Michael Stuhlbarg) are enormously frustrating, coupled with desert-dry humor and a drab backdrop.
Still, I must admire the unwavering uniqueness of the Coens’ vision, not to mention the customary excellence of their filmmaking technique. Though it made me want to yank my hair out, there’s no denying “A Serious Man” is, in retrospect, quite perfect.
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