Hallmark Review: The Wish List (2010, dir. Kevin Connor)


Yes, the title of this post should strike fear into the hearts of Hallmark movie watchers. But I can make it worse. Not only was this made by the director of Strawberry Summer, but it was written by the same guy, Gary Goldstein. And you can tell because this movie also has some characters sing When The Saints Go Marching In. On the other hand, he also wrote My Boyfriends’ Dogs, and that wasn’t bad. And you can tell that too because this movie features a scene where the boyfriend dumps his dog on the female lead. Take that scene, repeat it across multiple boyfriends, and make the right guy work at the pet store. That’s My Boyfriends’ Dogs. I’ve seen too many Hallmark movies.

The Wish List opens with a little girl in her room talking about prince charming and drawing in a coloring book that has a prince and princess. Then we see a todo list on a blackboard. Can you smell a movie about a woman who makes a list of qualities that a man must meet for him to be marriage material? No? Good, that means you’re not as jaded as I am. Sadly, that is exactly what the movie is about.


Fortunately for us. This guy is the very first one we meet and he is exactly what she is looking for so the movie ends right there. This truly is the shortest Hallmark movie I know about.


Actually, it turns out he was hiding a lot of qualities that she can’t stand such as smoking and being a kleptomaniac. That is her Americana Xpress card that fell into her soup after he pulled it out to pay for the meal. Of course, Major League (1989) came to mind.


Portrait Of Love had Corbin Bernsen in it as well, which was produced by Larry Levinson and Randy Pope who also produced this movie. Just a coincidence, but a humorous one.

Of course we now get a little montage of obviously wrong guys for her. The guy with piercings and the guy with dreadlocks. This means it’s time for Sarah Fischer (Jennifer Esposito) to break out the whiteboard and write down exactly what she demands in the man she’ll marry: NO exceptions!


My favorite is nice feet, but the best part is something that isn’t on the board. They later show a histogram showing what the probability is that she will eat a whole tub of ice cream.


Ah, I love when I can watch something where I can easily take screenshots.

With her firmly set on a path to meeting the wrong guy, she runs into the right guy named Fred Jones (David Sutcliffe) at a coffee shop.


He is the local lovable Barista prick. Seriously, I can’t think of a better way to describe him. While Esposito plays our protagonist in this and is humorous in how she keeps coming back to the coffee shop he works at even though he grates on her nerves. If you are going to watch this movie, then you’re doing so in order to see David Sutcliffe and the wrong guy Dr. Erik Cavallieri played by Mark Deklin.


They are the reason to see this movie. Come to think of it, one of this movie’s problems is that we actually like the two of them so much, we wish she could marry both of them. This is no more evident then when they all go to a night club and it goes all Saturday Night Fever (1977) with the two of them dancing.


They actually have to reach a bit near the end to try and make us really favor the one over the other. And the rest as they say, is Hallmark.

There’s only two more things I want to mention. First, this movie is split screen happy. I blame Pillow Talk (1959) for this stuff. While it works well with the dancing scene, the phone calls and the Barista contest at the end are a bit much. There’s a scene where they are talking on the phone and the center dividing bar shifts at least three times just a little to the left, then back right, then left again. Also, there are times when you’d think it’s just leaving black space on the side because it was 2010 so it was composed for a smaller screen. But then you get a shot like this.


Just know that they go a little overboard with this whole split screen thing.

The other thing is a computer screen goof to look for. It first shows a properly done screen, cuts to one that is a mess, then back to a proper one. Here’s the good one.


And here’s what it cuts to.


Not even remotely close to the awful ones from Strawberry Summer, but I would like to know who this rrowen@mac.com is. It’s a shame that they went through the trouble of reskining Google to this JetSearch.com, but they didn’t change the URL in this shot or the title on the browser tab. One final thing, it’s a little fuzzy, but I’m pretty sure one of those bookmarks is to Hallmark’s website.

As long as you know it’s one of those The Rules type movies and that you are watching it for David Sutcliffe and Mark Deklin, then this one is fine.

Embracing the Melodrama #53: Crash (dir by Paul Haggis)


For the past two weeks, I’ve been reviewing, in chronological order, some of the most and least memorable melodramas ever filmed.   We started way back in 1916 and now, after 52 reviews, we’ve finally reached the year 2004.  And that can only mean that it is time to review the worst film to ever win an Oscar for best picture of the year.  I am, of course, talking about Crash.

Crash is an ensemble piece that follows a multi-racial cast of characters as they deal with issues of race, crime, and — well, that’s about it.  In Crash, everyone’s life revolves around race and crime.  Well, I take that back,  There is at least one character whose life revolves around being a good maid to the white woman who employs her.  But otherwise, it’s all about race and crime.  The film is set in Los Angeles which, from what I’ve read, is actually a pretty big city but you really wouldn’t know that from watching Crash.  All of the characters in Crash are constantly and randomly running into each other.  I think director/screenwriter Paul Haggis is trying to make a statement about the power that coincidence plays in the world but, often times, it just feels like lazy plotting.

Anyway, here are the characters who are meant to bring Los Angeles to vivid cinematic life:

Brendan Fraser and Sandra Bullock play rich white people Rick and Jean Cabot.  Rick Cabot has just been elected District Attorney of Los Angeles County.  (Because when I think of a successful urban politician, I automatically think of Brendan Fraser…)  Jean is his materialistic wife.  At the start of the film, they’re carjacked by two young black men, which leads to Jean suspecting that every non-white she sees is secretly a gang member.  Later, Jean falls down a flight of stairs but she’s helped by her maid, who happens to be — surprise, surprise — not white!  Apparently, this teaches Jean an important lesson about tolerance.  The message, I guess, is that white people can be redeemed by interacting with their minority servants.

And then there’s Cameron (Terrence Howard) and his wife Christine (Thandie Newton) who are upper class and black.  Cameron directs sitcoms for a living and, at work, he has to deal with Fred (Tony Danza) constantly double guessing him and demanding that he reshoot scenes.  One night, as they leave an awards ceremony, Cameron and Christine are pulled over by two white cops — the racist Ryan (Matt Dillon) and his idealistic partner Hansen (Ryan Phillippe).  Ryan proceeds to molest Christine while giving her a pat down.  The next day, Christine is involved in a car accident on the freeway and is pulled from the burning car by none other than Officer Ryan.  The point here, I suppose, is that the same pervert who finger rapes you one night is just as likely to be the same guy who comes across your overturned car on the freeway.  For that scene alone, Crash deserves the title of worst best picture winner ever.

crash-2004 4

But that’s not all!

There’s also Detective Graham Waters (Don Cheadle), who has been assigned to investigate a police corruption case that would not be out of place in an episode of … well, just insert your own generic cop show title here.  Graham also visits his mentally unstable mother who demands that Graham find his younger brother.  Now, of course, as soon as we hear this, we know that Graham’s brother is going to have to turn out to be one of the other characters in the film.  Since there are only three other black males in this film (and since Cameron appears to be the same age as Graham), it’s not difficult to figure out who it’s going to be.

It’s either going to be Anthony (Ludacris) or Peter (Larenz Tate), who also happen to be the same two men who carjacked the Cabots’ car at the start of the film.  Larenz Tate probably gives the best performance in this whole sorry mess of a film, even if his role is ultimately a thankless one.

There’s also a locksmith named Daniel (Michael Pena), who finds himself being stalked by an angry Middle Eastern man.  Daniel’s story contains a hint of magic realism, presumably because Paul Haggis was reading something by Gabriel Garcia Marquez while writing the script.


You can fault Crash for many things but you also can’t deny that it’s far more ambitious than the typical bad film.  In the space of 112 minutes, Paul Haggis attempts to say everything that needs to be said about race and class in America.  Unfortunately, while watching the film, it quickly becomes obvious that Haggis really doesn’t know much about race and class in America.  Hence, the film becomes a collection of scenes that think they mean something while actually meaning nothing.  Crash is less about race in America and more about how other movies have traditionally portrayed race in America.  Unfortunately, director Haggis does not have the self-awareness to truly bring the subtext of screenwriter Haggis’s script to life.

The main theme of Crash seems to be that everyone has a good side and a bad side and that you can the hero of one story while being the villain of another.  That’s not a bad theme, it’s just an incredibly mundane one.  The film illustrates this theme by continually having a character say something racially offensive just to then have him do something heroic in the very next scene.  As a result, the characters don’t come across as being so much complex as just incredibly inconsistent.  Crash is never as deep as it thinks it is.

Reportedly, Crash was inspired by Paul Haggis’s own experience of getting carjacked.  Haggis has said that being a victim of crime led to some intense soul searching on his part.  Hopefully, Haggis got something better than just Crash out of the whole experience.