Reel Critics

Jim Erwin

Can a man find the love of his son, his family, his neighbors and the

whole world by doing something as simple as building a house? Can some

terrible shock, like learning you are terminally ill, open your eyes to

the importance of simply loving everyone around you and being true to

yourself? “Life as a House” is a simple heartwarming story for people

with simple minds. This feel-good movie makes you wish we all had some

horrible terminal illness. A slow agonizing death is a gift to help you

follow your dreams. Painful reality never rears its ugly head. The

shallow notion of romanticizing terminal illness is the heart of a

shallow story with shallow characters. It is retread sentimental garbage

and lacks imagination. “Life as a House” is a shameful waste of great

acting talent and a complete waste of time.

Kevin Kline heads a cast of terrific performers. He is charismatic as

George, the unemployed architect trying to set his life straight before

he dies. Hayden Christensen is sympathetic and vulnerable as George’s son

Sam, a blue haired teenage goth with a chip on his shoulder. Mary

Steenburgen plays a minor role as Coleen, George’s neighbor and mother of

Sam’s love interest. These performers are all clearly capable of great

work, but the saccharin unreality of “Life as a House” gives them little

opportunity to show their talent. The filmmakers brag that Kline actually

learned how to use power tools to prepare for this role. The idea that

learning to use a circular saw is a special achievement for a first-rate

actor pretty much sums up the depth of this movie. Why would quality

actors bother with this rubbish? I guess even movie stars get bills in

the mail that need to be paid.

One of the story’s main themes is George’s effort to bond with Sam.

One of the many story flaws is that George never tries to understand Sam

or his world. Sam has to conform to George’s world to be a truly happy

person. George counsels Sam to like himself and be his own person, but

has no regard for Sam’s personal identity. The obvious contradiction in

George’s message of “be your own person -- be like me,” doesn’t seem to

matter to the filmmakers. Exploring a real father and son relationship is

beyond the scope of this movie. Who needs truth when rehashed nonsense is

the industry norm?

* JIM ERWIN, 39, is a technical writer and computer trainer.