New Year's Eve (2011)

        Director Garry Marshall’s 2010 film Valentine’s Day was slaughtered by critics , and talks of a spin-off had filmgoers rolling their eyes and asking, “What’s next – Memorial Day?” True, the thought of an entire franchise based on holidays is enough to make any self-respecting cinephile gag, but the concept actually works very well in relation to December 31. It is the one annual night when people all over the world come together to reflect on the past year, and look forward to the promise of the future. What better night to illustrate the story of families, lovers, and strangers coming together in anticipation of the next chapter of their lives?
        Of course, what drives New Year’s Eve (and will no doubt rake in enormous sums at the box office in the weeks to come) is not the story; it’s the sheer star power. The film’s promotional poster features stills of eighteen of its “stars,” which include Halle Berry, Jon Bon Jovi, Robert DeNiro, Zac Efron, Ashton Kutcher, Lea Michele, Sarah Jessica Parker, Hilary Swank and Sophia Vergara – among several other leads and assorted cameos. Although none of the performances are groundbreaking, every character was likeable in some way. Efron’s tool with a heart of gold, Michelle Pfeiffer’s cautious office worker, Seth Meyers’ frazzled but competitive father-to-be, Katherine Heigl’s woman scorned – each managed to earn some measure of my affections. (The only exception being Kutcher’s unkempt, holiday-bashing comic artist; who, in light of recent events in Kutcher’s personal life, failed at evoking my sympathy.) Audiences will be amazed at how much Abigail Breslin has grown up since the days of Signs and Little Miss Sunshine, but she still brings her own childlike innocence to a film otherwise carried by adults. Vergara essentially plays her character from Modern Family (using incorrect vocabulary and telling stories about “my country”), but it works; she has the best comedic timing of the cast.
        What surprised me about this film is, ironically, its ability to surprise. Apparently, decades of working in romantic comedies has enabled Marshall to avoid many of the clichés inherent to the genre. At several points throughout the film, I found myself absolutely certain of what was to come next, only to be shocked to discover my assumptions were incorrect. Rather than falling victim to generic conventions, Marshall chooses to confront them directly. He teases the audience, almost as if to say, “You thought I was going to go for the obvious, didn’t you?” What is predictable about this film is how pleasantly everything wraps up – once midnight hits, all characters are instantly at peace. Yes, New Year’s Day is considered a “blank slate” for many, a fresh start at becoming the people they want to be; but that does not negate all of the complications attached to the days, months, and years prior (for example, a messy breakup between Heigl and Bon Jovi’s characters, which is easily reconciled in the film).
        New Year’s Eve is by no means a cinematic masterpiece from a technical standpoint. Dialogue is dubbed over shots wherein the actors’ mouths are not moving, and Jessica Biel’s pregnant tummy is laughably fake-looking. The pacing is inconsistent: the first half of the film is exceedingly slow (understandable, considering how many character introductions must be plowed through), while the second half picks up and begins intertwining, complicating, and eventually resolving all of the stories. However, New Year’s Eve serves its purpose as a feel-good film and succeeds in eliciting a few powerful sentiments from the emotionally-accessible viewer. The stories involving Halle Berry and Robert DeNiro are particularly touching.
        New Year’s Eve improves upon what Valentine’s Day did for the star-studded seasonal heartwarmer. This is certainly not the film anyone should expect to garner Oscar nominations, but it can be appreciated when one goes in with the proper mindset. It is the perfect fit for those seeking a little heartfelt entertainment. Not to mention a whole lot of celebrities.