Michael Sucsy
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Filmography
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Connections, in both directions
Yes, that should remind you of “50 First Dates,” and yes, that should tug at your heart anyway.
Many questions and apologies ensue, akin to a Nicholas Sparks movie somehow not based on a Nicholas Sparks novel or 50 First Dates stripped of its awful jokes, leaving only corny gestures and sporadically convincing heartache intact.
Writers Abby Kohn and Marc Silverstein, two of the folks you can blame for Valentine's Day , attempt to put a serious spin on 50 First Dates , while director and co-writer Michael Sucsy (HBO's Grey Gardens ) attempts to bring a yuppie catalog to life.
But it might have been adapted from the Adam Sandler-Drew Barrymore comedy "50 First Dates," or made up by somebody's boyfriend as an excuse for why he forgot Valentine's Day.
If the Adam Sandler/Drew Barrymore chuckler "50 First Dates" had been recast as a romantic drama and produced by the Oprah Winfrey Network, "The Vow" might have been the result.
At least one unfunny comedy (the 1940 William Powell-Myrna Loy vehicle I Love You Again) and one unmoving drama (the 1991 Harrison Ford vehicle Regarding Henry) have been built around the premise of amnesia threatening a marriage.
The writer-director, Michael Sucsy, is probably not old or smart enough to have seen Greer Garson and Ronald Colman in Random Harvest, Mervyn LeRoy’s 1942 masterpiece about love and amnesia, but to a ripe old movie buff like me, The Vow brings back warm memories.
There's no close-up of the marquee, or of the posters on the street, to indicate what they've just seen, but here are some suggestions: Memento, Regarding Henry, Random Harvest, I Love You Again, any of the Bournes.
At least one unfunny comedy (the 1940 William Powell-Myrna Loy vehicle I Love You Again) and one unmoving drama (the 1991 Harrison Ford vehicle Regarding Henry) have been built around the premise of amnesia threatening a marriage.
There's no close-up of the marquee, or of the posters on the street, to indicate what they've just seen, but here are some suggestions: Memento, Regarding Henry, Random Harvest, I Love You Again, any of the Bournes.
Neill has also played opposite oversized creatures, although in neither of his Jurassic Park adventures did he have to wrestle with the kind of dialogue he's forced to utter during The Vow. Watching Neill in this movie, I felt the same surge of sympathetic embarrassment I suffered while watching Laurence Olivier in The Betsy.
Unless it is genuinely helping to inform the viewer of a character's internal self and values, as it does in, for example, 1986's "Stand by Me," it usually comes off as a screenwriter's lazy way to establish information by telling rather than ideally showing.
Tatum and McAdams even go on a date to trendy Café Mnemonic, which is about as subtle as if Tom Hanks and Meg Ryan had hung out at Club Lunesta in "Sleepless in Seattle."
It’s like that bit in Groundhog Day where Bill Murray tries to recapture the spontaneous wonder of one glorious day with Andie MacDowell, but she doesn’t realize they’re doing reruns and is completely creeped out.
She's an artist, and he owns a recording studio; as Leo rambles on about the soulfulness of Scotty Moore's guitar picking on "Mystery Train," you can almost hear the screenwriters begging for street cred.
The Vow takes place in Chicago roughly as urgently as The Third Man takes place in Vienna, excepting that Vienna was there used as a symbol for the disunity and confusion of post-war Europe, while Chicago - and I say this as one whose love for that city can not in any way be called into dispute - is just a big American city that is functionally indistinguishable from most of the other big American cities.
Like Joseph Gordon-Levitt in “The Lookout,” McAdams communicates the alienating, post-brain injury frustration of searching for something upstairs behind a door that refuses to be unlocked.
It’s written and directed by Abby Kohn and Marc Silverstein, the creative team behind the sweet and underrated tearjerker The Vow and most notably for the goofy gem Never Been Kissed.
Charting Renee's transformation, seasoned rom-com writers-turned-directors Abby Kohn and Marc Silverstein (He's Just Not That Into You, The Vow, How to be Single) craft a typical "make a wish" flick, but set their sights on body image.
But screenwriters Abby Kohn and Marc Silverstein, the minds behind scripts for films like Never Been Kissed, The Vow and How to Be Single making their feature-length directorial debut, can’t seem to get beyond sitcom platitudes.
Directed by screenwriters Abby Kohn and Marc Silverstein, the duo behind such mediocrities as Never Been Kissed, He’s Just Not That Into You, How to Be Single, and The Vow, I Feel Pretty has the advantage of starring Amy Schumer but the disadvantage of not knowing what to do with her.
Written and directed by Abby Kohn and Marc Silverstein, whose previous screenplays include “How to Be Single,” “He’s Just Not That Into You” and “The Vow,” “I Feel Pretty” has the gall to show us images from Penny Marshall’s “Big,” perhaps the best of those body-switching movies of the 1980s, just in case you were wondering where this film’s borrowed central concept comes from.
I Feel Pretty was written and directed by Abby Kohn and Marc Silverstein who have made a long string of romantic comedies together, including Never Been Kissed (1999), Valentine’s Day (2010), The Vow (2012), and How to be Single (2016).
Eternal Sunshine of the Spotless Mind (2004)
Directed by Michel Gondry
influenced The Vow (2012)
Plot
Essentially what The Vow does is to take Michel Gondry’s Eternal Sunshine of the Spotless Mind and run it through the studio machine in order to unburden it of much of its complexity.
In addition to Howard, Tatum studied under Michael Mann (for Public Enemies) and Steven Soderbergh (for Haywire).
Good try, “The Vow” and “About Time,” but pretty much no guy wanted to see Hollywood’s romance star in those unless their girlfriends bribed them.
Valentine’s Day falls on a Tuesday this year, so Universal/Comcast Corp. is hoping for a boost on its fifth day of release as was the case in 2012 with the Channing Tatum/Rachel McAdams romance The Vow.
It's sort of like "The Hangover" if McAdams was the only member of the Wolf Pack and, instead of finding Ken Jeong naked inside a car trunk, she just cried constantly.
And the trailers and commercial for this latest flick are cut exactly the same way that other ads were cut for those two titles and such other Sparks' weepies as "The Last Song," "A Walk to Remember," and "Message in a Bottle."
Much of the film plays like a dark and twisted version of “Meet The Parents,” as Leo has to deal not only with his nasty in-laws but the fact that his own wife doesn’t recognize him.
They then went on to work on Valentine’s Day (2010), The Vow (2012), and now, How To Be Single, a film also co-produced by Barrymore.
The story, cribbed from Liz Tuccillo’s book, is credited to rom-com writing duo Marc Silverstein & Abby Kohn (The Vow, Valentine’s Day, He’s Just Not That Into You) and Dana Fox (What Happens in Vegas), so it shouldn’t be surprising that the film subscribes to so many clichéd notions of love and lust in the Big City.