Script and Screenplay
The biggest drawback of the story (Ian Deitchman and Kristin Rusk Robinson) is that it is predictable. Within minutes of the film starting, you know what course the story is going to take. As such, there are no surprises in the screenplay. What was lost by way of a generic story could have been made up by strong characterisations. But here, too, the filmmakers have fallen short. All the characters, the lead pair, the nosey neighbours, even the kid are stereotypically what we are used to seeing on screen. This begs the question, why make a film that offers nothing new? Moreover, Messer and Holly’s falling in love and drifting apart is too convenient to be believed. The climax is predictable and unconvincing. Emotions fail to touch the heart.
The performances of the lead actors are good. Josh Duhamel is believable as the thick-skinned Casanova, while Katherine Heigl plays the control freak and desperate single woman, with élan once again (after The Ugly Truth). Josh Lucas shines in a cameo. The rest of the actors do average jobs. The three little girls, who have played Sophie, are adorable.
Direction and Editing
Director Greg Berlanti succeeds in creating a few funny and warm moments on screen. The scenes where the untrained parents, Messer and Holly, try to take care of Sophie’s toilet habits, or their joy when Sophie starts walking, are worth mentioning. Blake Neely’s background score is appropriate. Andrew Dunn’s cinematography is bright and brings out the colours beautifully. Jim Page’s editing could have done with a few more cuts, especially a few of the emotional scenes that don’t work at all.
The Last Word
On the whole, Life As We Know It fails to impress. It will not find favour at the Indian box-office because of the weak storyline and poor publicity.