Somewhere along the way the story of ANTWONE FISHER misses being the sort of film it starts out to be. The boy's miserable past is merely hinted at in a series of abusive moments that don't really correspond to why his anger management problems are so out of control. It takes psychiatric help from DENZEL WASHINGTON to set Antwone on the path of redefining himself as a person.
And it all comes down to: trace your history, find your mother (he never knew his father who was killed), and reunite with your relatives. It seems a pat solution to a deep rooted problem and it gets rather superficial treatment from director Denzel, who gives it a Hallmark Hall of Fame sort of presentation--shifting midway through the story to sentimental theatrics with Fisher surrounded by a boatload of smiling relatives.
Nothing about the screenplay is very original--you know, boy with abusive past grows up with a chip on his shoulder--and there are no new discoveries made here by either psychiatrist Denzel or the viewing audience.
DEREK Luke and JOY BRYANT are fine as the leads who find tender romance together and begin the search for Luke's parent after an abusive foster mother finally gives him the name of his dead father. This leads to a reunion with an aunt and, finally, with the mother who abandoned him. This scene is extremely well acted and poignant, as the mother is unable to say a word to her son as he presents himself to her.
But at the midway point in the story, where Denzel suggests the boy trace his roots, the story becomes overladen with sentiment to play at the heartstrings. And the final scene, with Denzel relating why his own relationship with his wife has been so strained, is just too pat when it's tied in with his client/patient relationship with Fisher.
Summing up: A good movie could have been a great one with a stronger story of Fisher's past as the centerpiece.
And it all comes down to: trace your history, find your mother (he never knew his father who was killed), and reunite with your relatives. It seems a pat solution to a deep rooted problem and it gets rather superficial treatment from director Denzel, who gives it a Hallmark Hall of Fame sort of presentation--shifting midway through the story to sentimental theatrics with Fisher surrounded by a boatload of smiling relatives.
Nothing about the screenplay is very original--you know, boy with abusive past grows up with a chip on his shoulder--and there are no new discoveries made here by either psychiatrist Denzel or the viewing audience.
DEREK Luke and JOY BRYANT are fine as the leads who find tender romance together and begin the search for Luke's parent after an abusive foster mother finally gives him the name of his dead father. This leads to a reunion with an aunt and, finally, with the mother who abandoned him. This scene is extremely well acted and poignant, as the mother is unable to say a word to her son as he presents himself to her.
But at the midway point in the story, where Denzel suggests the boy trace his roots, the story becomes overladen with sentiment to play at the heartstrings. And the final scene, with Denzel relating why his own relationship with his wife has been so strained, is just too pat when it's tied in with his client/patient relationship with Fisher.
Summing up: A good movie could have been a great one with a stronger story of Fisher's past as the centerpiece.