- The art of racing in the rain movie#
- The art of racing in the rain drivers#
- The art of racing in the rain driver#
The art of racing in the rain movie#
But I, as someone who’d never heard of Garth Stein’s 2008 novel, sat in the theater distracted by how this movie spends its first half-hour catching audiences up to the present. Maybe The Art of Racing in the Rain works better as a book. It’s about 25 minutes too long, but I’d be lying if I said Costner’s gravelly voice didn’t give a bit of personality to what’s otherwise a slog. While this would be a positive in most circumstances, here’s it’s more of a stray observation Simon Curtis’s direction feels almost vetted in lacking any real voice, as if to slide out of the studio tract as something to consume and digest. If nothing else, Rain is mostly consistent in tone and themes (aside from its skittish attempts at inappropriate humor, that is). Rain doesn’t care for its characters, no matter how much it pretends to. We may hear about what happens in Denny’s life and we may even see bits of it, but at the end of it all, we’re really just hearing it secondhand. But none of it matters as Enzo’s constant monologues keep all consequences out of reach. She’s a vessel for pain and an excuse for growth.
Denny, for one, has about as much personality as your fall 2004 Abercrombie catalogue while Eve functions as a plot device (and the umpteenth waste of Seyfried’s talents). In actuality, Rain doesn’t care for its characters, no matter how much it pretends to. Instead, it’s Enzo’s narration that puts Scotch tape over Rain, trying to mask how slapdash its construction really is. As Mark Bomback’s script tries to lean into melodrama and break the story into a variety of directions, he quickly shows himself as in over his head. But like the myopic sight of its narrator, Rain can never put enough focus on one person or conflicts that unfold. That, of course, brings in a daughter, Zoe ( Ryan Kiera Armstrong), and due to Denny’s bad boy nature, disapproval from Eve’s parents.
L-R: Amanda Seyfried and “Enzo” in Twentieth Century Fox’s, THE ART OF RACING IN THE RAIN Since the pacing is so inconsistent, it’s hard to tell just how odd it is that, in the movie’s runtime, they end up married five minutes later. That interest is Eve ( Amanda Seyfried), a schoolteacher whom Enzo… ogles from behind? (Yes, really.) When she says yes to a date with Denny, it just feels easy. That, of course, requires a love interest. Most of them check all the boxes you’d expect, though, taking stretches to introduce Denny’s inevitable highs and lows. Some interlocutions explain the film’s title while some milk its droller attempts at humor. Not only does this scaffolding prevent the viewer from getting close to the action onscreen, but it feels like what might happen if Lars von Trier tried to write a Hallmark movie. Then come his philosophical voiceovers-tons of them.
The art of racing in the rain driver#
After a quick start en media res, this pup walks us through his life starting when racecar driver Denny ( Milo Ventimiglia) named him Enzo. Better yet, it can’t function without Then, because all of its story exists in a predetermination that weakens its most basic conflict. “They focus on the present.” It plays like it’s intended as some sort of lesson, but in this case, it’s an unintentional autocritique.įor almost all of its 109 minutes, Rain is indebted to Then.
The art of racing in the rain drivers#
“The best drivers don’t dwell on the future or the past,” this golden retriever tells us. In his review of Marie Antoinette, he said, “o one ever lives as Then it is always Now.” But aside from thinking of Ebert and Sofia Coppola during a film where Kevin Costner voices a dog, this quote still happened to find a parallel by its end. I spent most of The Art of Racing in the Rain thinking of one of my favorite Roger Ebert lines.
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