The new fantasy/comedy/romance, Eternity, is a film that tries hard to cut a memorable path, but becomes too bogged down by an unfocused tone and an unshakable “been there/done that much better” vibe. It is certainly not the fault of screenwriter Patrick Cunnane and director/co-writer David Freyne that many classic films have already covered the love-in-the-afterlife angle, with three of them rightfully considered to be some of the finest films of their respective eras.
The 1946 Powell/Pressburger masterpiece A Matter of Life and Death, Warren Beatty’s 1978 triumph Heaven Can Wait, and Albert Brooks’ 1991 instant classic Defending Your Life are the pinnacle of the afterlife/love story sub-genre. All three are widely-admired masterworks of their respective decades and feature lead characters pleading their case for more life and/or a chance to spend eternity, (natch) with someone they love.
Feyne and Cunnane’s Eternity has a bigger issue and one that crushes any good will found in the story; its premise.
Played as an old man by the great Barry Primus, Larry Cutler chokes to death on a pretzel while visiting family with his wife of 60-plus years, Joan, played as her older self by Betty Buckley. In the afterlife, Larry (now played by Miles Teller) wakes up on a train, confused about where he is and why he’s no longer old. Larry is once again his 30-year-old self; existing in eternity as the age that found him the happiest.
As Larry wanders through a station filled with fellow “travelers”, he meets Anna (Oscar-winner and absolute delight, Da’Vine Joy Randolph), the A.C. (Afterlife Consultant) in charge of guiding him through his path to eternity. The screenplay has good fun with its depiction of the different eternities offered to those who have died. The train station is filled with kiosks where angels(?) act as salespeople who greet the recently deceased by pitching why their eternity is the best choice. A celestial, “Always Be Closing”, if you will. “Capitalist World”, and “Nudist World” are clever ideas for destinations. In the film’s best gag, “Men Free World” and “Marxist World” are so popular, they both sold out.
So far, so good, as the film achieves a warmly humorous tone. Teller and Randolph have good comedic chemistry and their banter is intoxicating.
And then, Larry’s beloved wife arrives in the form of her younger self, played with gusto by Elizabeth Olsen. As the recently dead Joan enters the picture, the film dies as well; through no fault of the actress. Elizabeth Olsen gives a committed performance filled with heart and an old-fashioned comic style that we used to see from performers such as Katherine Hepburn and Myrna Loy.
Larry and Joan are to be happy and together forever, until Luke (Joan’s first husband who died in the Korean War) shows up to rekindle the life they never had the chance to experience. The rules of Heaven state that once an eternity is chosen, you are there forever. Joan must choose between Larry and Luke and there lies the film’s rub. Joan’s confusion regarding what to do is a character flaw so frustrating that it ruins the film.
Joan was only 18 when she and Luke fell in love and hastily jumped into matrimony, only to have him die in the war. Larry was a friend to Joan in her time of mourning. Eventually, the two would find love, marry, and build a life together that lasted into their twilight years. For Joan to entertain the thought of choosing between the two men is absurd and morally questionable. Meeting her first husband again after losing him so young would certainly bring up a tidal wave of feelings. Larry, on the other hand, gave his wife 65 years of dedication and love, not to mention children and grandchildren. For Joan to be so unsure of her choice casts her as something of a villain. 65 years, Joan. 65 years!
It doesn’t help that Callum Turner’s portrayal of Luke is dreadfully bland. The actor fails to give the role personality. Every line delivery and emotional beat are completely flatline. Turner’s performance is so dull, it makes Joan’s dedication to their memory a real head-scratcher.
All is not lost, as the picture holds some good moments. The best being a museum where the characters walk through the memories of their life. These scenes find a balance of sadness and beauty that the screenplay cannot achieve anywhere else.
Teller, Olsen, Randolph, and John Early (as Joan’s A.C, Ryan) all give fine performances. Freyne’s direction is affable until the film becomes repetitive once it reaches the halfway point. After the fifth or sixth scene of Joan feeling overwhelmed while Larry and Luke act like crazed suitors from a screwball comedy, the film grinds to a halt. The same situations (Joan worries while her two suitors scramble to be “the one”) play out again and again. There really is nothing more to it. Perhaps if the screenplay was designed as an Ernst Lubitsch-styled romantic romp, it would have been more interesting.
Freyne’s fantastical romance earns some laughs, a few sweet moments, and mostly solid performances. The fault lies in a screenplay that isn’t sure how to sustain its premise for the length of a feature film.
Eternity isn’t bad, it’s just too simplistic and can’t find a way to fully come together, while the shadow of stronger films haunt its every scene.
Eternity
Written by Patrick Cunnane & David Freyne
Directed by David Freyne
Starring Miles Teller, Elizabeth Olsen, Callum Turner, Da’Vine Joy Randolph, John Early, Betty Buckley, Barry Primus
PG-13, 112 Minutes, A24, Star Thrower Entertainment
