Love Tussle

In my initial 10.20 review of Love and Other Drugs, I predicted that it would run into trouble from “the Eric Kohn-Guy Lodge nitpick crowd.” Neither of these two have run a review yet, but In Contention‘s Kris Tapley, whom Lodge writes for, gave Ed Zwick‘s film a little slapdown today, so my prediction was…well, vaguely accurate.

Anne Hatahway, Jake Gyllenhaal in Love and Other Drugs

I’m also claiming clairoyance by predicting the reasons that detractors like Lodge (or Tapley) would use. “Eeew, it’s two different movies…eeew, it doesn’t blend….eeew, it veers too sharply between broad comedy and disease-anguish and hot sexuality and heartfelt love and heavy emotionalism.”

Tapley puts it as follows: “There are too many ingredients in the soup, many of them tasty. But they clash in the mixture. There was an opportunity here to delicately balance comedy and drama, [but] the film never finds that balance.” If it had, Tapley writes, “it could have been this year’s Up in the Air.”

I don’t think Zwick was trying for an Up In The Air-type thing. I’m not sure he was trying to fit any of the paradigms or models that people are familiar with. I think Zwick has put together a different type of concoction that some aren’t going to “like” because it doesn’t quite follow the form they’re looking for. I only know that when a film gives off that special feeling of assurance with everything clicking, you can smell it like tasty food in a nearby kitchen.

I agree with Tapley that Josh Gad‘s fat brother character is a pain in the ass. I would have been totally fine if an assassin had picked him off with a high-powered rifle early on. And I agree that the film “run[s] through the usual high-gloss romantic comedy motions” rather than “expand thematically,” but these typical motions are handled so deftly and with such spunk and charm that I was mostly taken in.

And I’m intrigued, rather than thrown and unsettled, by how Love and Other Drugs “isn’t any one thing.” In fact, I wrote, “That’s the fascination of it. It’s not dark enough to be The Apartment, it’s not easy and it’s not ‘farce’ and it’s not just hah-hah funny, and it’s not dramedy as much as comedy with a thorny and guarded edge.”

“It just works, is all. LOAD has charm and pizazz and, okay, sometimes strained humor, and yet it never slows down or goes off the rails, or at least not to any worrisome degree. So you can be Eric Kohn and go ‘no, no…I want something else! This doesn’t fit into my comfort-blanket idea of how movies like this are supposed to work.’ And that’s fine, Eric. Go to town and send me a postcard.”

Variety‘s Justin Chang says LAOD “is rather too eager to please,” but also “super-slick, snappy, smartly packaged [and] saucy” with “an uncommon degree of sexual candor for a mainstream picture” and “ingratiating performances from Jake Gyllenhaal and Anne Hathaway.

“If one can get past the calculation inherent in the drug-pushing-boy-meets-disease-stricken-girl setup, Love & Other Drugs clicks largely because its actors do. Their ribald pillow talk lends the film a verbal tartness that’s complemented visually by the abundant nudity, though tasteful use of shadows and strategic camera placement still leave plenty to the imagination.

“That the film’s treatment of Parkinson’s disease feels as respectful as it does is a credit to Hathaway’s sensitive, understated rendering of her character’s symptoms, which appear to manifest themselves only when most convenient for the narrative.

“Crucially, the actress makes Maggie a vivacious presence, the sheer force of her spirit serving as a rebuke to her physical setbacks and countering the film’s generally insulting view of women (who fall into three basic categories here: bimbos, opportunists and Parkinson’s patients). As Jamie, the ideally cast Gyllenhaal turns on the charm full force, his energetic puppy-dog demeanor all but daring the viewer not to buy whatever he’s selling.”

  • Adam

    It still sounds like a schizophrenic mess and Anne Hathaway’s ugly, exaggerated features are proof God hates talentless actresses. Nevertheless, it’s awesome to see you taking Tapley to task. He’s definitely one of the most obnoxious people in the universe.

  • Kristopher Tapley


  • hickoryduck

    I saw this at a screening today. It was underwhelming, though fun enough.

  • DiscoNap

    looks like a solid B with some decent performances, so It’s almost certainly this year’s UP IN THE AIR.

  • Guy Lodge

    Are you suggesting Kris and I share a critical voice? I think he’d be the first to agree that we don’t — recent films on which we’ve had polar opposite reactions include “Precious,” “Bright Star,” “The Lovely Bones,” “The King’s Speech,” “Winter’s Bone” and so on.

    And would you mind giving me a chance to see the movie before labelling me a “detractor?” I’m rather more open to commercial romantic comedies than you give me credit for — perhaps you missed my piece yesterday espousing the merits of Emma Stone and “Easy A.”

    All in good humour, I realise, but at least wait for me to give an opinion before picking on it.

  • raygo

    Adam must be gay.

  • moviechick44

    I wish the adaptation was more like the book. It would have been just as good or better. Jamie really exposes the pharmaceutical company’s. It’s very biting commentary. Check it… Hard Sell; The Evolution Of A Viagra Salesman. A straight adaptation would have been more suffice.

  • LexG


    Love her. And actually a Zwick movie I have a soft spot for is …ABOUT LAST NIGHT.

    In general, I’ve never entirely understood what Zwick’s deal is, where half his stuff is “young thirtysomethings and their relationships” (especially his TV work)… then the other half are these bombastic, epic, colorful 2.5-hour boys’ adventure movies. it’s like half the time he wants to be David Lean, when he’s not busy being the ONCE AND AGAIN guy.

  • DiscoNap

    Gays have a usually overdeveloped appreciation for aesthetic beauty. Adam is just psychotic.

  • Sams

    Todd McCarthy called it “an enormously contrived and cloying romantic drama without a moment of believable reality to it.”

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