This year- Day one hundred and ninety four. (Leap Year and hand pain)
My hands hurt. When I worked at Rockstar and I was on a computer or on a video game and the tiny keyboard all day (for 12+ hours) this would happen. I would go to the kitchen and get a soda out of the fridge just to hold in my hands for a while to make them feel a little bit better.
I have not been using my hands constantly lately though... what the heck? And today I was out and about a bunch and not even on the computer for that long. I don't know what's causing it but just typing this is killing me. Just sitting in the cab with Hallie on the way home they were throbbing and I don't know why. It was distracting.
Instead I will share with you the review of "Leap Year" written by A.O. Scott in the NY Times. I LOVE IT.
Ireland in February, With Romance in the Air, Manure on the Ground
A few weeks ago I resolved, in the spirit of the season, to adopt a more positive outlook in the new year. In particular I vowed to break the habit of seizing on every bad movie as a sign that civilization was collapsing. There is already so much doomsaying and apocalypse mongering going around. Why add to it?
Then I saw “Leap Year.” The worst movie of 2010? Well, yes, but since it was, at the time, the only movie I’d seen in 2010, that isn’t really the point. And, in truth, there have been worse in recent months: “Did You Hear About the Morgans?,” for example, as potent an inducement to general cultural despair as anyone could ever want. Others just as bad are sure to follow.
What makes “Leap Year” so singularly dispiriting is precisely that it is bad without distinction — so witless, charmless and unimaginative that it can be described as a movie only in a strictly technical sense. And what is disconcerting about this sorry state of affairs is that the director, Anand Tucker, is hardly a hack, having done good and varied work in “Shopgirl,” “When Did You Last See Your Father?” and his portion of the soon-to-be-released “Red Riding” trilogy. The stars too — Amy Adams and Matthew Goode — have plenty of talent and appeal.
“Leap Year,” written by Deborah Kaplan and Harry Elfont (“Josie and the Pussycats,” “A Very Brady Sequel”), does not fail to make use of these performers’ gifts. It doesn’t even try. Ms. Adams, who is never less than adorable (even if, after “Junebug,” she has rarely bothered to be more), plays Anna, a generic young American city dweller tossed into a life-changing wallow through the old sod of Ireland.
She arrives there to propose to her longtime boyfriend (Adam Scott), whose heeliness is signaled by his workaholic attachment to his BlackBerry and by the fact that he gives Anna diamond earrings instead of the engagement ring she had been expecting. The cad! Also, his name is Jeremy, and the laws of Hollywood dictate that no romantic comedy heroine will ever wed a high-achieving Jeremy when, let’s say, a scruffy Declan is available.
Learning that every four years in Ireland, on the 29th of February, a woman may propose marriage to a man — imagine! — Anna follows Jeremy to that country, where he has conveniently gone for a medical conference. Blown off course by weather and transit problems, she lands in the company of the aforesaid Declan, hirsutely and monosyllabically played by the handsome Mr. Goode, who seems eager to show off his gruff manliness but unsure of just how to go about it.
His solution — or rather, that offered by the filmmakers — is to insult, ignore and mock his co-star until a decent interval passes and he can fall in love with her. Ms. Adams, meanwhile, is subjected to a series of humiliations that quickly come to seem arbitrary and cruel. Anna may be a privileged North American career gal, but Ms. Adams, with her soft features and trembling overbite, is not cut out to play the steely, entitled princess who might deserve the rustic comeuppance that Anna receives. Deserving or not, she is subjected to mud, rain, hail, cow manure, vomit and other indignities.
No effort is made to provide either Anna or Declan with coherent personalities, or even interesting foibles. We know that she is an obsessive planner who leaves nothing to chance, but then again she seems to have crossed the ocean with a pair of expensive and impractical high-heeled shoes as her only footwear. The reasons for this are obvious enough: The shoes complement the tight skirts that Ms. Adams also wears in bad weather and hostile terrain, and also sink comically into muck, sand and other nasty stuff.
As for Declan, he mopes and sneers and calls her an “eedjit” until she can resist his charms no longer. Their initial antagonism might be promising — hostility is often the catalyst for romantic-comedy bliss — if either one did or said anything funny, clever, provocative or even slightly memorable. Instead there are exchanges like the following, on the subject of the supposed tradition that gives this movie its title.
Declan: It’s a load of poo.
Anna: No it isn’t. It’s romantic.
Much as one hates to contradict a lady, the gentleman has a point.
“Leap Year” is rated PG (Parental guidance suggested). No sex. No jokes. No serious swearing. No violence. Nothing.
Opens on Friday nationwide.
Hahahahahaah. My favorite line of the review is "so witless, charmless and unimaginative that it can be described as a movie only in a strictly technical sense." Kelly Lynn asked when the ads first started running if there was any point in seeing this movie since the ad campaigns tell you who she picks (basically). What the heck conspired to make this movie happen? Time to go ice my hands and think about that.