(US); 1998; Rated PG-13; 104 Minutes
Harrison Ford: Quinn Harris
Anne Heche: Robin Monroe
Jacqueline Obradors: Anjelica
David Schwimmer: Frank Martin
Produced by Julie
Bergman Sender, Roger Birnbaum, Wallis Nicita, and Ivan
Reitman; Directed by Ivan Reitman; Screenwritten
by Michael Browning
by DAVID KEYES
Days, Seven Nights" is a torpid, pathetic clone to "Romancing
The Stone," a film made nearly 14 years ago. It has character
attitude, a group of pirates in search of treasure, a dangerous
wilderness, and people who fall in love when they are in
danger--everything except a stone. The only difference,
though, is that "Romancing The Stone," was intelligent,
fun to watch, and very adventurous. "Six Days, Seven Nights,"
however, is dimwitted, aseptic, and not very fun.
film is dead for the first hour, where characters seems
to argue constantly, and in the last hour, we are sent on
adventure scenes more boring than those of "Godzilla." This
is the first script written by Michael Browning for a motion
picture, and I'm sure the man can make a great script for
a movie one day. For the time being, "Six Days, Seven Nights"
represents his lack of experience.
is also a failure on Ivan Reitman's part as well. His past
film, "Father's Day," was an insult to the entire comedy
genre. The film before that, "Junior," wasn't bad, but it
bounced in theaters more than a basketball does at a Chicago
Bulls game. Is Ivan Reitman trying to keep some sort of
losing streak here? If so, he's managed it well.
plot of the film is told with little enthusiasm. It involves
a woman named Robin Monroe, played by Anne Heche, who is
suddenly called off on a magazine deadline shortly after
her and her fiancée, Frank Martin, start their vacation.
This guy, played by David Schwimmer, proposed to her early
on in the film, and she accepted. Afterwards, she convinced
a cargo pilot to take her to Tahiti for her magazine shoot
in his rusty and filthy cargo plane.
in the middle of an electrical storm, the plane goes dead,
and they both crash onto a south-seas island, where they
must wait for help. In that time, love manages to spark
between them, and in a brief moment, Robin realizes too
late that she is already engaged to someone else.
island they shack up on is filled with perilous dangers,
which all occupy both characters in between romance and
argument scenes. Judging from the landscape and the structure
of this island they land on, however, this is actually a
Hawaiian island, though the film doesn't set it up to be.
characters, I imagine, must be spun-off from others in other
movies and television shows. Ford's character, for example,
is Quinn Harris, who acts almost exactly like Indiana Jones,
both physically and verbally. If you don't believe me, listen
closely to the dialogue: it sounds exactly like something
that he would say. And when he fights these "pirates," you
can't help but think that that IS Indiana Jones, because
he throws similar punches.
for Robin Monroe, she sounds like a Spice Girl with her
blundering dialogue. At a few points, she asks Quinn several
stupid questions, and he replies with a crude answer. Nearly
every tense moment on the island is spent like this, with
Monroe asking questions, and Quinn replying like a jerk.
dialogue of these two characters is so repetitive and misconceived
that it's easy to predict what the characters will say.
Each time we hear a line come out of Harrison Ford's mouth,
we feel sickened, because it's not those usual intelligent
lines he often says in his films. He has the stupidest lines
in the film, which I usually never expect when he's the
Heche has the excellent performance here. After being noted
the lesbian lover of Ellen DeGeneres, she proves that she
can act like a normal, heterosexual woman on screen, especially
during the love scenes. If Ford's character was the same,
the film would have been at least watchable.
not like I have anything against this type of romance-adventure,
because it really worked for me in "Romancing The Stone."
Perhaps that is exactly the problem: it has worked before,
so who needs to see it all again, and in such a similar
way? Reitman may have been better off leaving the film on
the cutting-room floor.
1998, David Keyes, Cinemaphile.org.
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