Sweet November film review

certificate_12

SWEET NOVEMBER

The sooner Keanu Reeves slips back into his action man uniform the better. His choice of romantic dramas hasn't set the big screen aflame, and his latest is no exception.

Charming free spirit Sara Deever (Theron) is a generous soul. Every month, she takes a new lover (or so-called "project") who she believes is in need of her gentle touch. In four weeks, she irons out any character flaws, then releases the lover back into society, a changed and hopefully better man. It's a no strings attached arrangement, and Sara adheres rigidly to the month-long rule, believing that "it's long enough to be meaningful, but short enough to stay out of trouble".

But her carefully laid plans go awry when she meets abrasive, workaholic executive Nelson Moss (Reeves) in the office. After initially refusing her advances, Nelson takes up the offer of this most unconventional courtship.

The pair gradually fall in love, but the prospect of future happiness is tainted by a terrible secret which Sara has been keeping from all of her men friends - she's gravely ill and has only a few months to live.

Sweet November has all the cliches, from the hospital scene where Sara tells Nelson to go because she doesn't want him to see her frailty, to the gay neighbour (Isaacs) who gives unseen emotional and physical support.

Reeves and Theron previously shared the screen in the supernatural thriller The Devil's Advocate and generated a potent on-screen sexual chemistry. Here, you could be forgiven for believing they are playing platonic friends. Neither character is sympathetic or endearing, and Nelson's transformation from self-obsessed, materialistic oaf to caring, sharing 21st-century man is too rapid to take seriously.

Director Pat O'Connor milks the terminal illness angle for every tear and, in the final half-hour, laces each scene with more schmaltz than the last. Considering the two-hour running time, that's a lot of emotional syrup. Far Too Sweet November.