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Angel Eyes


Angel Eyes

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In terms of subtlety, establishing a character's guardedness by showing her going to bed wearing a bulletproof vest ranks pretty low. That choice typifies Angel Eyes, a film that creates the atmosphere of a supernatural thriller, but can't muster the energy to bring in either the supernatural or the thrills. The film's look and tone suggest a few too many viewings of The Sixth Sense by director Luis Mandoki (Message In A Bottle), but it's all grafted onto a weepy, facile romance ickier than the ghosts and goblins it so carefully avoids. Playing a Chicago cop tough enough to take on bad guys three times her size but chic enough to sport an enviable wardrobe when off duty, Jennifer Lopez brings a remarkable amount of conviction to her role. Her committed performance grows all the more impressive as Angel Eyes spins out of control around her, beginning from the moment romantic interest Jim Caviezel enters her life after rescuing her from an angry gunman. Sporting a permanent five-o'clock shadow, speaking in cryptic, clipped sentences, and insisting he be called "Catch," Caviezel looks and behaves as if in competition for the title of Chicago's Handsomest Homeless Man. Presumably attracted to men who seem to have suffered recent blows to the head, Lopez strikes up a relationship, undisturbed by her new beau's habit of staring blankly into the distance, and unable to connect him to the horrific car accident she witnessed a year earlier. Inspired by Lopez's attentions, he begins to piece together the lost bits of his life. Inspired by Caviezel's newfound inspiration, Lopez confronts her own strained familial relations. As they lumber toward their monologue-accompanied epiphanies, the film drags along behind them, dispensing emotional climaxes like so much cheap candy at a Fourth Of July parade.