The main attraction of How to Deal is Mandy Moore; to say otherwise is simply untreatable delusion. Whether your interest is rooted in lust or morbid curiosity doesn't matter; pick the most personally comforting excuse, make peace with it, and keep on reading...
In her first movie, Mandy played a pious girl, a minister's daughter forever outcast because of her penchant for frumpy dresses, volunteer work, and other saintly duties, who meets some guy who is both uncouth and wrong for her, and opposites attract, he has a heart of gold, etc. I won't spoil the surprise ending for you the way it spoiled the movie. I am told that at production time she maintained an overtly chaste public image and -- no doubt -- A Walk to Remember let her keep it.
....But...
Before seeing HTD, I most recently saw Mandy on The Osbournes. I thought it odd that she who had taken great pains maintaining an aura of demure but sexually-charged saintliness, should appear on a show where "fuck" is every fourth syllable. I wondered, has she rejected her saintly ways, or is she merely surrounding herself with "edginess" because it's what all the cool kids are doing?
Our answer lies in HTD's first scene, wherein Mandy shows that she, too, is a Midriff-Baring Ass-Machine[1], and she's refreshingly ready to kick it into high gear for scenes of yoga, dancing, and -- oh yes -- groping.
Her character, Haley, doesn't believe in this thing that humans call "love," and is deathly afraid of experiencing it. Shockingly, she meets an irreverent scamp of a guy whose advances she eventually can't ignore, and there's your movie. Sort of.
You see, this most time-honoured, simple, and relatively satisfying of boy-meets-girl plots takes place on a background of multiple subplots involving every member of her family. Her best friend, her sister, her mother, and her father are all at one stage or another of a new relationship. The problem: imagine a speeded-up, time-lapse film of a plant with multiple blooms where all the flowers are open except for a single bud in the middle. The bud opens into a flower that turns out to be much prettier than the others, while they virtually stand still in comparison. We might feel satisfied with such a show, but the perfectionist within us asks, "Why didn't they zoom in closer on the flower that changed?"
And this is where the movie falls short. Except for Haley/Mandy's plot, all of the interesting stuff in the other relationship-plots has already happened! They've already met, they've determined compatibility, most other decisions have already been made, and the movie simply shows the characters reacting to the stress of making things "official." Bleah. They would have done well to focus on the "Haley" plot and making it funnier and more thoughtful; Haley's initial outbursts are pretty much all she's got: there's no philosophy or experience underpinning her fear of Love, just the notion that when you lose part of your innocence, you might as well embrace complete jadedness.
This movie is utterly, totally about a growing relationship network, and god help any character, plot, or comedy that gets in the way. I consider it quite a feat that so much material that doesn't pertain to relationship growth has been pared away. But I don't think this was the best idea, because each of the characters has only the minimum personality required to define their relationships with one another. Better to dispose of them entirely, via shootings.
They needed at least one shooting or other death every four scenes. Not drive-bys, but point-blank, self-inflicted gunshot wounds to the head or chest, complete with nearby walls to catch spattering brain and guts. Since the characters are so totally defined by their relationships, every time I saw a character solo, I expected them to be so lonely and despondent that they felt the need to end it all, and then BLAM!
But alas, the maker's of Mandy's movies seem to agree that one random, senseless death out-of-nowhere per-film is enough. I still say they shoulda run with it.
PROS:
- Mandy did, amazingly enough, a great job. Very natural sound and movement. Couldn't be happier. Better than anything Alyssa Milano's ever done or ever will do.
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Scamp had a surreal and entertaining "Benny" of Benny 'n Joon thing going on for a bit during the funeral scene.
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Geek note: There is an Aayla Secura action figure hanging from Scamp's rear-view mirror.
- Groping. Yay!
CONS:
- The secondary characters are worthless.
- Biggest conflict in HTD results in grounding. For two whole weeks. Harsh.
- Insufficient shootings.
- More suitable movie title: How to Tolerate. I don't recall seeing anyone dealing with anything.
- Mother's love interest tacked-on;
god forbid that anyone should remain single.
- Lack of insight re: anything.
But I make the movie sound much more interesting than it really is. At its core it's an ode to the joys of pair-bonding and reproduction, from conception to delivery, with some fear, arguments, and random tragedy tossed-in for color.
So, if you wanna see Mandy Moore's butt wiggle, this is the best movie for that purpose yet.
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