By Sherilyn Connelly
By Inkoo Kang
By Carolina del Busto
By Alan Scherstuhl
By Melissa Anderson
By Aaron Cutler
By Amy Nicholson
By Alan Scherstuhl
For a movie called Larry Crowne, it sure is tough to get a solid read on the character of Larry Crowne. Directed, co-written by, and starring Tom Hanks in the title role, the film seems to want to be some kind of postrecessional pick-me-up, an "It Gets Better" video for the struggling, aging American middle class. And with its eager-to-please congeniality, it almost works, but with a pacing that is at once comfortably assured and frustratingly slack, like holding exactly to the speed limit on a stretch of open road, Larry Crowne never quite comes to life.
As the film opens, Larry seems content with his lot in life — at least in the few short moments he is onscreen before being abruptly fired for lacking a college education from his job at U-Mart, a big-box store chain with the sneakily obtuse corporate culture of Walmart and the red-shirt/khaki-pants dress code of Target. This starts Larry on a process of personal reinvention that finds him enrolling in community college as a way to better arm himself for the next job, becoming a motor-scooter enthusiast, and almost inadvertently wooing his age-appropriate teacher, Mrs. Tainot (Julia Roberts).
There isn't much in the way of fresh-wound wallowing: Larry quickly and simply gets to the business of starting over. Any dissatisfactions he might have before embarking on this new chapter in his life are glossed over quickly, with just a mention of having been passed over for a promotion and a relatively recent rough divorce (his ex-wife never even gets a name). The film is so intent on remaining upbeat that it more or less forgets to acknowledge the negative.
A film about a late-middle-aged man forced to start fresh would presumably get some mileage from a stuck-in-his-ways reluctance to try new things, but Larry is immediately open and receptive to change, adapting quickly to exchanging texts with younger students, adopting a snazzy new wardrobe, and even wearing a wallet chain. There is never a strong sense of what was missing from Larry's previous life — what he is changing from, or any dashed dreams or paths not taken — to really appreciate the person he is changing into.
Despite opening with a fast-paced montage of Larry at work set to ELO's bouncy "Hold On Tight" (and ending with ELO's "Calling America"), Larry Crowne is tonally more of a midtempo groover in line with the three Tom Petty songs it prominently features, including a scooter-riding sequence set to "Runnin' Down a Dream." Purposefully or not, the film takes on the character of those songs and their titles — unassuming and craftsman-like, with a vague, if vaguely unconvincing, undercurrent of optimism.
Roberts, who seems to have settled permanently into her recent screen persona of a vaguely pissed-off woman, plays a character with more obvious things to be upset about as a community college English teacher. As her husband — a struggling sci-fi writer who mistakes blog-reading and comment-posting for productivity — Bryan Cranston provides a needed jolt of energy. The scene that finds them both just soused enough to really let each other have it on the drive home from dinner has a sense of friction and spark that is missing from the rest of the movie.
In some sense, Larry Crowne seems to be about dropping the baggage, be it physical or spiritual, that bogs us down — a theme made literal when both Larry and Mrs. Tainot signal forward movement by putting some stuff on the front lawn. In trying to make Larry into a free-floating Everyman, Hanks turns him into something disconcertingly untethered, generalizing contemporary issues such as downsizing, foreclosure, worries about gas mileage, and accepting The New into something so blithely nondescript as to carry no real weight. If Hanks is aware that Larry's wallet chain is less a symbol of hip rebirth than a signal of a geezer hopelessly chasing youth, as a filmmaker he doesn't have the teeth to reveal it.
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