Directed by: Anand Tucker. Starring: Amy Adams, Matthew Goode, Adam Scott. Runtime: 1h 40 min. Released: January 8, 2010.
Anna (Amy Adams) has been dating Jeremy (Adam Scott) for your years and still no proposal. Her father (John Lithgow) shows up for two minutes to tell her an Irish tradition that if a woman proposes to a man on Leap Day, he must accept the proposal.
Anna follows Jeremy on his business trip and eventually ends up on a small island called Dingle, far from Dublin. There, she meets Declan (Matthew Goode), who drives her to Dublin for a price. I wish she would have gone to any other island because thus begins one of cinema’s most unbearable road trips.
The road trip is a series of annoying scenarios that prevent them from reaching their destination, and I know that’s how road trip films usually goes, but this one is just annoying. Have a working car? Not anymore, Anna accidentally pushes it down a hill. There’s a train going to Dublin in two hours? You’ll miss it because Declan wants to visit a nearby castle. Nothing annoys me more than convoluted miscommunication or writing in romantic comedies and Leap Year is chock-full of them. It’s why this film is my personalized version of Hell.
Matthew Goode is usually good but he looks completely bored. His character is also unlikable. When Anna gets to his inn, she plugs in her Blackberry charger and predictably cuts to the power to the whole village. “Women!” says Declan frustratingly and he goes upstairs to call her an idiot.
In some films, it works when the characters hate each other in the beginning and grow to love each other (When Harry Met Sally…). This is not one of those films. No matter how many love songs they play or cooking montages with a happy score over it, I didn’t believe for a moment they were falling in love.
Their dynamic is obnoxious as they assume stuff about each other, and a lot of the humour comes from Anna being shallow and wealthy, because she’s a city girl traveling the Irish countryside. As the car goes down the hill, she calls, “My purse is in there!” She’s not that likable, but Declan is one of the biggest movie jerks I’ve seen in some time and we are supposed to like him. Some of what he says to Anna borders on vitriol and they simply move past it.
Amy Adams is passable in a film where it’s impossible to have chemistry. I love her but she only got one smile from me in 100 minutes. It manages to make her boring, and do you know how hard that is when she’s so effortlessly charming? She seems to give effort to a screenplay that is truly terrible. It’s more effort than writers Deborah Kaplan and Harry Elfont deserve, and Goode is a realist knowing it is utter shit and wades his way through it.
The screenplay misunderstands romance and comedy. The film is unfunny and boring, and to get to any schmaltz you have to go under layers of smut. The romance doesn’t work because the screenplay forces them into romantic situations. They’re forced to pretend to be married since they’re staying under a conservative couple’s roof at a bed and breakfast. They must sleep in the same bed, and there’s a scene that plays out like a cringe kiss cam compilation where they’re pressured into kissing. The comedy is unfunny scenario after unfunny scenario. Director Anand Tucker is also at fault here because he just let this happen.
It’s some of the most convoluted writing I’ve encountered, too. There’s a point where the owner of the bed and breakfast, Frank (Tony Rohr), could have gotten Anna to Dublin easily. It’s a Sunday and he knows she wants to go to Dublin, but there are no trains on Sundays. He doesn’t tell her that his wife Eileen (Maggie McCarthy) is going to Dublin that morning, so when she asks for a ride, Eileen’s already left. It’s baffling he doesn’t think, “Gee, maybe this nice girl would want a ride to Dublin since there are no trains.” The reason he doesn’t offer this is for story reasons because the pair aren’t in love yet. Perhaps my expectations are unrealistic to assume the characters have a brain or common courtesy, because there is no evidence of it throughout. I know it’s possible I’m being unfair, and maybe it’s the 30 romantic movies in a month talking, but I truly think this is awful.
If this is not my personal Hell, it’s at the very least a sick joke created by Jigsaw of Saw to torture me. I was expecting him to pop up and ask if I’d like to play a game. Yes, please. I would like to control the characters. Anna goes to the edge of a cliffside at the end of the film and Declan follows. I thought maybe she’d jump – take a leap at love. They do not jump. Let me at them, Jigsaw. I’ll push ‘em.