The repetitive, witless abuse of Ian and Louise, as well as of Ian’s girlfriend Sara (Kristen Bell), who stupidly shows up eventually only to get tied up along with the others, is disturbing on its face, but also in the ease with which it recalls the bathroom murder of the film’s own screenwriter, Adrienne Shelly. What passes for a plot development occurs halfway through with the out-of-nowhere arrival of an opportunistic burglar (Justin Long, understandably keeping his face partially obscured behind a kerchief throughout) who ties up Louise and proceeds to verbally and physically abuse the couple.Īggressively out of step with Ryan’s semi-comic posture, Long’s burglar delivers sickeningly realistic jabs to Ian’s face and sexually assaults Louise, explicitly degrading her and fondling her chest while Ryan lies helpless on a bathroom floor, no doubt mentally retracing the steps of her derailed career. Shots are inexplicably allowed to fall out of focus, slow motion is employed to assist any complex movement, and the demands of basic shot composition prove too much, despite the majority of the film taking place in one room with two actors. Ryan’s hopeless attempts at importing some America’s sweetheart sunniness into the grim setup by rehashing the exasperated guffaws and instances of self-satisfied certainty from her most memorable performances are met with a wall of coldness by Hutton, whose affronted, angry husband consistently berates his wife as a psycho bitch when not making plays for freedom through expressions of understanding and a desire for reconciliation, loudly telegraphed in their insincerity.Īllaying any doubts about who bears responsibility for this train wreck, director Cheryl Hines compounds her horrific misunderstanding of dramatic cadence with numerous displays of technical incompetence. For most of this film’s torturous duration, Louise stalks around a drab bedroom set, circling the stationary Ian like a sharky inquisitor as she alternately scolds him for his infidelity and collapses into self-effacing fits of neediness that would make any feminist wretch. As Louise, a type-A careerist who responds to the sheepish adultery confession of flakey husband Ian (Timothy Hutton) by knocking him out cold and duct-taping him to a chair for some ad-hoc marital therapy, Ryan is saddled with the impossible task of grafting her diminished charms onto a risible, psychotic harpy with no relatable human motivation.
#SERIOUS MOONLIGHT MOVIE#
To uncover the writer’s puzzling identity, Birdie must come out of her shell…discovering that most confounding mystery of all may be her growing feelings for the elusive riddle that is Daniel.Hopefully Serious Moonlight will not become Meg Ryan’s Trog: an embarrassing, final starring role in an otherwise respectable movie star career that has sputtered to a halt in recent years.
Daniel also shares her appetite for intrigue, and he’s stumbled upon a real-life mystery: a famous reclusive writer-never before seen in public-might be secretly meeting someone at the hotel.
#SERIOUS MOONLIGHT DRIVER#
The hotel’s charismatic young van driver shares the same nocturnal shift and patronizes the waterfront Moonlight Diner where she waits for the early morning ferry after work. In her new job, Birdie hopes to blossom from introverted dreamer to brave pioneer, and gregarious Daniel Aoki volunteers to be her guide.
But her solitary world expands when she takes a job the summer before college, working the graveyard shift at a historic Seattle hotel. Raised in isolation and homeschooled by strict grandparents, she’s cultivated a whimsical fantasy life in which she plays the heroic detective and every stranger is a suspect.
Mystery-book aficionado Birdie Lindberg has an overactive imagination. After an awkward first encounter, Birdie and Daniel are forced to work together in a Seattle hotel where a famous author leads a mysterious and secluded life in this romantic contemporary novel from the author of Alex, Approximately.
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