The Film
Sometimes I think the postmodern, conflicted, and reticent to grow up character that Zach Braff seems to relish playing needs to grow a pair. Certainly, there’s some reality to the guy on the cusp of his 30s who’s not sure what he wants in life, but it gets a little ridiculous in The Last Kiss, where Braff plays Michael, a guy who cheats on his pregnant girlfriend - basically for the hell of it.
Michael says he’s scared of the responsibility. He’s scared of no more surprises in his future — and that’s entirely believable, interesting and understandable — but his unwavering nonchalant manner about the potential affair presented to him in the film makes it hard to care about him. He’s not conflicted. He’s just an asshole.
A remake of the Italian film L’ultimo Bacio by Gabriele Muccino (who has since moved on to making American schlock like Seven Pounds), The Last Kiss is the kind of the film that loves to pat itself on the back for taking an uncompromising look at “real issues” and not sugarcoating the reality of relationships.
Are these characters and situations more lifelike than the typical Hollywood production? Sure, but that’s not saying much.
Michael’s girlfriend, Jenna (Jacinda Barrett), is by all accounts his dream girl, but without much persuasion he starts to take an interest in a flirtatious coed, Kim (Rachel Bilson), who he meets at a friend’s wedding. Soon enough, he’s going to a kegger with her and finding himself back in her apartment. It all brings about the expected reaction from Jenna: screaming, more screaming, locking Michael outside on the porch.
Surrounding the tumult of Michael and Jenna’s relationship are their friends and family, and they’re all going through the wringer relationally as well. Izzy (Michael Weston) can’t get over his recent breakup with Arianna (Marley Shelton). Kenny (Eric Christian Olsen) thinks he’s found the perfect woman until it seems she does actually care about more than sex.
Chris (Casey Affleck) and Lisa (Lauren Lee Smith) are new parents, and it’s only brought them more stress and heartache. Jenna’s parents, Stephen (Tom Wilkinson) and Anna (Blythe Danner) may just be calling it quits after 30 years of marriage.
These satellites of relational discontent circling around the main story are interesting studies. There are strong performances all around (Affleck and Wilkinson, in particular) that really sell the characters. The problem lies with Michael and Jenna. Their story might just be the least compelling of them all.
Jenna’s scream-a-thon that comes as a result of his infidelity might seem like a totally appropriate reaction, but it’s not that insightful or interesting. The fact that it persists all the way up to the contrived ending that derives all of its catharsis from Coldplay ruins any chance of real character study.


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