BYE BYE LOVE
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.0
U.S. Availability: wide release on 3/17/95 Running Length: 1:45 MPAA Classification: PG-13 (Mature themes, language)
Starring: Matthew Modine, Randy Quaid, Paul Reiser, Janeane Garofalo, Amy Brenneman, Maria Pitillo, Rob Reiner Director: Sam Weisman Producers: Gary David Goldberg, Brad Hall, and Sam Weisman Screenplay: Gary David Goldberg and Brad Hall Cinematography: Kenneth Zunder Music: J.A.C. Redford Released by Twentieth Century Fox
The modern-day family isn't what it used to be. Households that mirror the Cleavers--or even the Huxtables or Seavers--deserve a place on the endangered species list. These days, you're as likely to find children shuttled back and forth between divorced parents as spending time in a stable, single-family situation. The fractured family and its ramifications lie at the core of BYE BYE LOVE, a new, lighter- than-a-feather dramatic comedy from director Sam Weisman (D2).
There are times when the movie's statement about the tragic lot of children torn between a mother and father is almost lost amidst the upsurge of feel-good sentiment. Don't expect much substance or depth from this film--the few questions it poses are never answered satisfactorily, and the story is framed in a manner designed to please crowds, not address issues. There's a saying that laughter is the best medicine, and it's certainly true in this case. BYE BYE LOVE's humor obfuscates many dramatic shortcomings. It's hard to dislike something that provokes this many laughs. Flawed though it may be, the movie does a good job filling the "light entertainment" niche.
For the most part, the story is told from the male point-of-view. We're introduced to a trio of divorced fathers: Dave (Matthew Modine), an incurable womanizer; Vic (Randy Quaid), a fun-loving sort of guy; and Donny (Paul Reiser), an insecure dad who wishes that his daughter (Eliza Dushku, from TRUE LIES) would confide in him. Most of BYE BYE LOVE is devoted to showing how these three interact with their ex-wives, their children, their current significant others, and each other.
The comedy starts slowly, with occasional solid one-liners and sight gags (one hint that the film has promise is that most of these work). However, just before the half-way point, Vic embarks on one of those motion picture cliches, the "Blind Date from Hell." In this case, his companion is the offbeat Lucille (played with deadpan gusto by Janeane Garofalo, the best thing to come out of REALITY BITES). Though nothing that happens between these two erupts with originality, and many of the jokes are telegraphed, the Vic/Lucille scenes are hilarious. Quaid and Garofalo create an effective rapport, each playing perfectly off the other. The only downside is that they aren't on screen all the time. An entire movie could have been made with just these two characters, and it probably would have been a far better film than BYE BYE LOVE.
Paul Reiser essentially regurgitates his MAD ABOUT YOU personae. There are a few wrinkles, but this is a "safe" role that doesn't require much of a stretch. Donny is blandly likable, but his story, which includes a relationship with Dave's ex (Amy Brenneman), seems like filler. Unfortunately, Matthew Modine is barely adequate, so Dave's scenes are often the least enjoyable. The script has some odd tangents, including a father-son relationship between a McDonald's worker (Johnny Whitworth) and his elderly "adopt a geezer" trainee (Ed Flanders). Rob Reiner is on hand as an ubiquitous talk-show host who raises the ire of his listeners.
Product placement has become a common practice for films like this, but BYE BYE LOVE goes way overboard in advertising for McDonald's. This is the second film this year (the other being HOUSEGUEST) where the fast food joint attains the importance of a character. The golden arches are lovingly highlighted, and there's a nice close-up of a sign advertising extra value meals for $2.99. Such blatant commercialism is annoying.
Dramatic comedies are Hollywood staples, but most fall short by diluting straight and amusing elements on an equal basis. While BYE BYE LOVE has its share of problems, feeble jokes and unfunny humor aren't among them. Despite only partially succeeding in its examination of the potentially-damaging effects of divorce, the end result is still a pleasant film that satisfies a need for cheery, unforced entertainment.
- James Berardinelli (jberardinell@delphi.com)
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