Rated PG-13 for sexual content and some strong language
Cast: Reese Witherspoon, Owen Wilson, Paul Rudd, Jack Nicholson
Director: James L. Brooks
"How Do You Know" has an appropriate title, as the characters spend heavy chunks of time talking on and on, often to themselves, occasionally to others who may or may not be listening, all in an effort to find out exactly when you're in love and how to obtain it. The writer/director is James L. Brooks ("As Good As It Gets") who specializes in quirky, likable characters struggling to get the most out of their haphazard lives. So, I didn't really mind that most of the main players here bordered on the neurotic. I just figured when the movie settles into itself and turns the corner, I knew I'd be interested to see where each one ends up. The problem was, the movie never turned the corner. The plot wanted to move forward but the characters didn't.
The story focuses on three people. First, we have Lisa (Reese Witherspoon), a professional softball player whose career was cut short after being dropped from the team. Second, we have George (Paul Rudd), a kind, likable, all-too-trusting businessman whose reluctance to cover his own ass has left him in hot water in his company as a federal indictment has been levied against him. Third, we have Matty (Owen Wilson), a professional baseball pitcher with the Washington Nationals.
After Lisa's softball days are cut short, she makes a rather impulsive decision to move in with her boyfriend, Matty. Matty is charming and rich, though has a problem with commitment. She later meets George, who in an effort to escape the fear of being indicted and how that will affect his father/boss (Jack Nicholson), calls her for a date, though is far too mentally preoccupied to be much of a conversationalist. Lisa does manage to bring him out of his shell, and the two start to grow close. Lisa then teeters back and forth, trying to determine which guy...
...you get the idea. The fundamental problem here is that the movie never becomes anything. Never grows. Never evolves. Instead, it seems to revel in the neuroses of its characters. Writer/director Brooks was stellar in his heyday ("Broadcast News", "Terms of Endearment") but not so here. This one follows in lockstep with his more recent "I'll Do Anything" and "Spanglish." The movie does have some moderately funny moments, but it seems like Brooks has stopped taking the time to develop his eccentric characters fully, choosing instead to rub familiar comic elements together as though they were kindling and hoping something will catch fire.
There is potential in these characters, but because they're constantly wrapped up in their own quasi-masochistic thought processes, none of their stories have an arc to it. Even in scenes where they appear together, there's never any real connection. They just flutter from thought to thought, embroiled in self-doubt. The only character that is effective is Matty, if only for the fact that he's the one with the most limited self-analysis. It speaks volumes when the most likable character in the movie is also the most transparent.
Both Reese Witherspoon and Paul Rudd bring everything they can to their respective roles. Rudd is a little more effective, mainly because he possesses a knack for elevating pathological goofiness to an art form. ("Dad, are you going to make me literally run away from bad news?")
Playing a character one could either fall in love with or strangle depending on your fluctuating patience level, Witherspoon gives it her best, but is ultimately less effective. Her character is so flaky--her mood swings and romantic choices so arbitrary--that it's impossible for us to care for her, let alone understand why nice guy George would.
Owen Wilson seems to be typecast here, but there's a reason for that... he's funny playing this type of lecher. Notice the way his eyes glaze over when Lisa expresses her need to tell him about her day. It's ever so subtle, but noticeable enough to evoke a laugh.
As George's shady father/boss, Jack Nicholson attempts to throw whatever additional humor he can into the mix, although he's playing a character so unsavory that there's very little to work with. He knows the material isn't working. You can read it on his face. That's the thing about really intelligent actors... they have a hard time selling something they know inside is ineffective.
With the bar being continually lowered as far as the quality of romantic comedies goes these days, I really expected a bit more out of this movie. The movie, like the characters in it, required a tad too much patience from me in order to stay interested. At one point late in the film, Lisa takes an excruciatingly long time opening a present from George. He sits calmly, a smile etched onto his face. Finally, after what seemed like an eternity, she looks up at him. "Thanks for not rushing me." All I could think was damn, George, there had better be a lot more where that came from.
* * out of * * * * stars
