By: debbie lynn elias
Daniel Rafferty is a celebrated New York divorce attorney – that is to say when he’s not writing books or hitting the talk show circuit. He’s also one of New York’s most eligible bachelors; although he does believe in the sanctity of marriage. And did we mention, he’s to die for gorgeous to boot, oozing sensuality with every breath? Audrey Woods is also a divorce attorney. A damn good attorney at that. She doesn’t lose a case. (That we know of.) Driven. Obsessive. Straight-laced. Plays by the rules. She lives for her work. Not a chink to be found in her armor of professionalism. Oh, and did we mention she’s single and not too bad looking herself? And as luck would have it, Daniel and Audrey continually find themselves on opposite sides of the counsel table getting involved in some of the most contentious courtroom histrionics ever seen. (Bear in mind, the Michael Jackson case hasn’t gone to trial yet. I doubt if any script will be able to top that litigation circus.) But, following in the tradition of those classic battle-of-the-sexes comedies of the 40’s and 50’s, and particularly in homage to the quintessential battle between Katherine Hepburn and Spencer Tracy in “Adam’s Rib”, the courtroom only serves as a prelude to the bedroom.
With several encounters already behind them, Daniel finds himself becoming more and more attracted to the cool, efficient and seasoned Audrey while she, on the other hand, finds his scatter-brained, sleeping at the counsel table, manner of legal practice repugnant. Seeing a challenge beyond the courthouse steps, Daniel, bored with life and law despite his notoriety, determines to break through Audrey’s steely exterior and win her heart. Not an easy task, but being the intelligent, charming, resourceful and methodical man that he is, Daniel is certain of yet another victory. Not a flowers and candy kind of guy, and she not being a flowers and candy kinda gal, with a backdrop of a high profile media-frenzied divorce of an English rock star and his somewhat less than ideal wife, Daniel goes after more than a win in the courtroom. Playing to Audrey’s intelligence and internal drive for a challenge and a win, he soon shows her there’s more to his buffoonish courtroom exterior than meets the eye, that there really is a very sensitive, aware, observant, intelligent – albeit, legally manipulative and ever posturing – guy lurking about. Intrigued, Audrey soon finds her armor wearing thin and well…….you know what the final verdict is already. As the Jamison marriage fiasco winds down, the romance of Woods and Rafferty heats up, and never more so when the two finds themselves in the romantic Irish countryside taking depositions in the Jamison case.
Pierce Brosnan and Julianne Moore are charismatic as Daniel and Audrey. They bring a refreshing nuanced maturity to their roles, much like Keaton and Nicholson did with last year’s smash hit “Something’s Gotta Give.” Romantic comedy with maturity? Yep, haven’t seen too many of those the past few years. Seems Hollywood things romance and comedy doesn’t happen past 30-something. (Trust me – it does – and the older you get, the more comedic relief you need where romance is concerned.) Moore, who proved her comedic chops with the less than warmly received “Evolution” (although I loved it), hits all the right notes on the lighter aspects of the story with her own patented brand of spitfire, but seems a little ill at ease blending in the romance. Her performance is nevertheless entertaining and enjoyable with any real shortcomings overshadowed by her chemistry with Brosnan. The two are mesmerizingly delicious going head-to-head in the courtroom. And what can I say about Pierce Brosnan? That rakish charm. The devilish glint in his eye. That man could seduce the devil (if a woman) into heaven with just a look. Think James Bond as an attorney. Intelligent, sophisticated, charming but with a very visible heart.
Having bounced around for sometime, the project ultimately ended up under the helm of director of Peter Howitt. Sadly, Howitt never quite gets a handle on his characters and particularly Moore, leaving them “hanging” in certain instances with a feeling and look of “how did I get here and why” – something fatal to most films but which I believe Brosnan and Moore work around thanks only to their own skill. Pacing is also uneven and (pardon the legalese here folks) although Howitt gives a great opening statement and provides the predictable but satisfying final verdict, his evidentiary introduction in between needs a lot of work and he intermittently loses the jury.
It also seems we’ve also got a few too many pens dipping in the inkwell with Aline Brosh McKenna, Karey Kirkpatrick and Robert Harling as the credited screenwriters, which may also account for some of the arcs that don’t quite fit, rambling, and dialogue that doesn’t suit a particular character or loses its wit as the film progresses. Although rumored that Howitt and screenwriter Douglas McFerran cleaned up the script prior to or during filming, we are still left with the sense of trying to make pieces from different puzzles fit into one. And again, although noticeable, the sheer chemistry of Brosnan and Moore overcomes the shortcomings.
A smart, sexy, witty film designed for the more mature movie-goer. Reminiscent of Hepburn and Tracy, the verdict is in on Moore and Brosnan. 12-0. We’ve got a winner.
Audrey Woods: Julianne Moore Daniel Rafferty: Pierce Brosnan Serena Jamison: Parker Posey Judge Abramovitz: Nora Dunn Sara Miller: Frances Fisher
Directed by Peter Howitt. Written by Karey Kirkpatrick, Robert Harling and Aline Brosh McKenna. A New Line Cinema picture. Rated PG-13.
