Fest Track On Sirk TV Film Review: LOVE LANGUAGE [SXSW Film - Austin, Texas]
The romantic comedy is a mid-budget film when done at the studio level (in terms of talent) that is often lost but all depends on the players involved. Last fall's TIFF film "Eternal Return" was phenomenal in certain ways in its wistfulness and romance that was never overplayed but was translucent. Kit Harrington was good in that but it was the way Naomi Scott (who at that moment was mostly known for "Smile 2") that really sold it...that aspect of love lost or what could have been. With "Love Language" [Narrative Spotlight], the film boasts a great cast where some work but only one is slightly miscast (though that is a matter of opinion). Chloe Grace Moretz plays Lou and is absolutely luminescent. We have not seen her do much in this vein and she keeps it her own but elevates the genre completely, like Natalie Portman did in "No Strings Attached". The film might have its issues but her love or intent or just being anchors it, even when one of her other scene partner isn't quite there. The story, like any good rom com revolves around a wedding. Lou is left by her fiancé on the eve of her best friend's wedding. Billie Lourd plays her best friend really settling into the wit and sarcasm that her mother Carrie Fisher was so good at later in her career. The gay best friend is in play too so the "My Best Friend's Wedding" vibes are there...and the film is also set in Chicago. Writer/Director Joey Powers knows all of this and his needle drops play to it. But this is a different time in today's society. Romance is different than those times of Julia Roberts back in 1997 and yet there is a similarity. Isobel May, who has been making her mark more specifically lately -- like Kathryn Newton -- is just the latest person to hire would-be writer Lou to write her wedding vows (after Billie Lourd asks Lou to do so as well). What begins as a good money making business eventually turns on its head when it involves a former paramour (Manny Jacinto).
Jacinto (like Henry Golding) has the range to make this happen. Golding made "Last Christmas" which despite missing the mark at the box office and certain storytelling elements had some really brilliant scenes with Golding and Emilia Clarke. Golding also picked "Daniella Forever" which was also a great little movie which had its sparks of genre. Jacinto just came off "The Acolyte" (Star Wars) where he was one of the best things about it -- and it would have been good to both have seen his and another Asian heavyweight character continue on that show. But here Jacinto plays Warren phenomenally especially off Moretz who always seems to be able to create stars in her eyes. It is a gift which it would be nice to see more of. While Florence Pugh can do many things, Moretz has the ability to go beyond, though she is maybe not picking bigger studio fare at this time (though "Shadow In The Clouds" was an interesting choice as well). The issue might be just choice is how she is going about her role decisions...butr she is fantastic in something like this. The ultimate paramour working in tandem here for the film is Dash played by Anthony Ramos who is someone she meets at her best friends wedding and helps with the ideas for the vow business. Dash is rough around the edges and the casting was done for a certain reasons of course...but there does not seem to be much chemistry between them. Ramos plays it a certain way to be sure but with the little asides it never seems quite sincere so the play out doesn't really feel earned where the Jacinto scenes do, especially a long deep focus of them walking down the streets of Chicago and then an exchange at a pub. The progression of the narrative makes sense but the ideals of who is the right one while still being subversive doesn't work as well as it should because of the one piece of casting (Ramos). Certain members of the audience responded well but it just seemed the one cog off in the well meaning wheel while the rest of the cast is pretty good. Again Moretz is shimmering in her femininity her (smile, costumes and all) but also allowed to be herself. It is a wonderful balance in seeing that achievement. "Love Language" is supposed to be lyrical and in many way it succeeds because of some quirky (sometimes acerbic dialogue) and a fantastic performance by Moretz. B
By Tim Wassberg
