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Angel Eyes

2001, Movie, R, 110 mins

Angel Eyes: Review

ANGEL EYES
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A subdued romance tricked up to look like a SIXTH SENSE-style supernatural melodrama. The film opens amid the aftermath of a horrific car crash, as Chicago cop Sharon Pogue (Jennifer Lopez) comforts an unseen accident victim. One year later — fiercely self-reliant and more comfortable joshing with the guys than going on a date — Sharon is apparently hell-bent on proving she's as tough as any male cop by manhandling suspects and regularly putting herself in the line of fire. Her angry, tough-as-nails demeanor, we gradually learn, is the result of her turbulent upbringing: Her father (Victor Argo) beat her mother (Sonia Braga) and brother (Sisto) regularly, and Sharon has been ostracized since the day when, as a youngster, she called the police on her dad. While pondering her mother's invitation to attend a family shindig celebrating her parents' renewal of their marriage vows, Sharon meets a guy. An odd guy, to be sure, but since he saved her life by tackling a thug holding a gun to her head, she's inclined to cut him some slack. His name is Catch (Jim Caviezel), and he's sweet, self-effacing and oddly passive (the exact opposite of Sharon's dad); he's also evasive about his background, his means of support and pretty much everything else — he won't even tell Sharon his last name. We've already seen him wandering the streets, performing largely unappreciated random acts of kindness for strangers, and know that he lives in an unfurnished apartment in a rundown building and seems to have some intense soft spot for children. Sharon knows only that he has a haunted, deer-in-the-headlights air (Caviezel's specialty) that's meant to seem strangely sexy though, frankly, Catch gives off such a deeply disturbed vibe that most mature women would have the sense to back off. It's obvious that Catch is the survivor of the crash we saw in the movie's opening minutes; what isn't clear is whether he's trapped in some CARNIVAL OF SOULS-esque limbo between life and death or is just hugely screwed up. On the plus side, Gerald DiPego's script doesn't spell out every story point, and the romance is driven by the grown-up notion that fairy-tale relationships don't exist and part of maturing is learning to live with life's messy imperfections. It's unfortunate that this piece of wisdom is wrapped in a layer of psuedo-spookiness that leads viewers to think the story is going somewhere it isn't. leave a comment --Maitland McDonagh
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