Now, that being said, the film isn't so charming that you have enough fun with it to walk away having fully enjoyed yourself, but whether it be because of its active attempts at charming the audience, or simply its somewhat endearing ambition, disdain toward this film is hard something fierce to sustain. A leading duo's chemistry is, of course, key in getting a romantic opus like this by, and while Costner's and Penn's charismas aren't bridged by sparks, or at least not so much intensity that you can ignore the film's dramatic shortcomings, they supplement charm, this film's greatest strength.
Our performers don't have too much to work with, and it doesn't help that much of this script's dialogue is about as hard to sell as a copy of "Wyatt Earp" on VHS (Sorry, Kevin), but if these cast members deliver on nothing else, it is, of course, charisma, with the unfortunately underused Paul Newman stealing just about every scene he graces with his legendary charm, while leads Kevin Costner and Robin Wright Penn keep this romance story from slipping too considerably by sharing a commendable bit of chemistry.
When the film hits on a visual level, it hits pretty hard, not exactly looking all-out radiant, but mighty good nonetheless, and such aesthetic engagement value helps in getting it by, but not as much as the engagement value behind the performances within this colorful cast of, well, underwritten talents. Only so much effort is put into dolling up this film, but we're still talking about cinematographic efforts by the great Caleb Deschanel, and sure enough, while the film isn't all that much of a consistent stunner, it is often quite pretty, boasting that distinctly Caleb Deschanel flavor that plays with lighting balance in a tasteful fashion, gracing the more naturally lit areas with a reasonably appealing warmth, while making the more glow-heavy spots near, if not decidedly gorgeous, particularly when photographic scope is played up to give you an attractive feel for the film's environments. Jokes aside, casting isn't the only thing done right in this film, for although this film is a mess, it's not without certain undeniable strengths that keep it from sinking. Speaking of which, in the '90s, alone, you knew that Paul Newman was getting old when it got to the point to where he could play Kevin Costner's dad, but hey, I'll run with it, because it's still a pretty great casting choice, and decidedly more so than the choice of getting Costner to play Sting.
#Watch the message in a bottle online free series#
Jeez, I wish this was as uncheesy as the origin story of the guy who would go on to write a song called "De Do Do Do, De Da Da Da", but no, this is the origin story of Nicholas Sparks, and sure enough, we're looking at a mediocre start to a mediocre series of film adaptations that still hasn't stopped Sparks from being about as frequently adapted as Stephen King, and still able to get more stars than space. Seriously though, I guess Kevin Costner could work Sting, with some work that is, but he's not about four years younger than Sting, so there's no way this biopic could work all that terribly well unless it were to cover events in Sting's life from the '80s or early '90s or something. Sending out an SOS, sending out an SOS, sending out an SOS, sending out an SOS, sending out an SOS, send." Hold on, all I did was type that and I need to catch my breath. "I hope that someone gets my, I hope that someone gets my, I hope that someone gets my message in a bottle, message in a bottle.
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