Collateral Beauty Review
Dramas exploring the nature of death and the true meaning of life are always in danger of tipping over into extreme sentimentality, and this one very quickly gets bogged down in buckets of syrup. It's a slickly made movie with a first-rate cast, but occasional glimpses of gritty honesty aren't quite enough to counteract sudsy philosophising that sounds profound but is actually rather shallow.
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It's set in New York, where advertising company owner Howard (Will Smith) is still lost in grief six months after the death of his 6-year-old daughter. And his business partners are worried that the company is falling apart as a result. In desperation, best pal Whit (Edward Norton), protege Claire (Kate Winslet) and rising-star Simon (Michael Pena) hire a private detective (Ann Dowd) to determine Howard's mental fitness to run the company. They also hire three actors to confront him as Love (Keira Knightley), Time (Jacob Latimore) and Death (Helen Mirren), abstract concepts he's obsessed with. But they don't know that Howard is also considering attending a grief counselling meeting run by Madeleine (Naomie Harris).
Directed with a magical sheen by David Frankel (Hope Springs) and written to within an inch of its life by Allan Loeb (The Switch), there's nothing about this film that doesn't feel contrived and controlled. In addition to their scenes with Howard, each of the three actors has an impact on the colleague who needs their specific gifts. And there are a number of revelations and twists that feel annoyingly hokey. Even so, the cast is strong enough to add moments of lightness that lift the movie briefly out of the sludge. Mirren, Knightley and Latimore have a sparky edge as the story's catalysts. While Norton, Winslet and Pena bring some raw, honest emotion to their own personal dramas.
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