It’s a pity that Aloha is one such film which perhaps may be saved from the big screen trash breed owing to its confidence in the plot cast. In this case, it only kind of works and not even on a consistent basis. That is unfortunate given the star cast that has been put together for Cameron Crowe’s most recent. Despite being what I would call a combination of both – neither purely comedy nor strictly drama Aloha is probably most accurate to the genre term “military romance movie”, yet, not even that is accurate. The us vs. them dynamic of the film also hampers this venture of the characters with the possibility of investing in or laughing at the characters being a closer call to many for most parts of the film.
The plot centers around Brian Gilcrest (Cooper), a defense hijacker who is tasked with launching a surveillance satellite in Hawaii which he fondly compares to his ‘old stomping grounds’, at the behest of a corporate sleaze (Murray). On arriving to the war zone, Gilcrest revisits his ex-girlfriend (McAdam) and later develops an attraction for his specific Air Force bitch lashed out for him (Stone). The outcomes are predictably boring but with an uncharacteristic amount of clumsy undertones of dramatic lines.
The good thing is that one can find few bad actors or weak performances in this outlet. Cooper plays the jaded world well as Gilcrest and handles the film’s control plausibly. On the other hand, Stone’s rendition of Captain Allison Ng is punchier and more odd than her normal ‘cool’ attitude that is a good appetite cleanser for her character Gilcrest. Equally, Baldwin and McBrice are fabulous in their equally wacky but completely distinct masculine figures. McAdams on the other hand stars in yet another romantic film where she is shoved into the stereotypical role of a female lead. This isn’t totally her fault if such a thing could exist given that her role gets pushed to the background in the script anyway.
Almost all the characters are generic and very much in line with everyone’s expectations and actress Margo is no exception. The comedian character however is not just underused but the reasons why he is clearly one of the better characters in the film are not that intelligent anyway raising expectations. However, the design of the ensemble at the end is quite simple, leaving perhaps the audience with a leave hope for the tiny details that the characters managed to incorporate with their costumes. The entire passion seems rather awkwardly gratuitous and none of the characters’ ideas are really well explicated.
The issue with this piece of writing is that the tone is rather confusing, as it can’t quite decide if a joke is worth it or not, and each sense commits to one option freakishly. Even when it does, the results are more embarrassing than amusing. That is even leaving aside the plot, which only just qualifies as clarify. Although, you are tempted to believe that the characters know what they are talking about, it is only in the redeeming move by Gilcrest that you grasp the overall situation. That’s because the movie has a bad habit of explaining things that could have been better demonstrated, making the entire thing a bit vague and not very engaging.”
Aloha, by director Cameron Crowe, despite featuring a large number of A-listers, fails to hold the audience’s attention with any kind of story or humor. In his latest, it is more of Elizabethtown, less Jerry Maguire, if one is to place him and his latest work on a scale of disappoint Typecasting. This is in terms of Writership. Return to IGN Max Nicholson is a writer for IGN, and he still needs your applause. Wait for him @Max_Nicholson on Twitter or MaxNicholson on IGN and appreciate his efforts for a while.
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