Pitched at teens and up, and set in some unfamiliar universe where no one has heard of cognitive science and information theory, not to mention empathy, "At First Sight" is an old-fashioned star vehicle that might open well due to the renown of the filmmakers and cast. However, the MGM release is too stodgy and sappy for hep (Note: I mean hep, this is not a typo) crowds, and critics will not be friendly, indicating an unspectacular run in theaters with perhaps more upbeat ancillary prospects.
Slow-paced and ponderously plotted, predictable in storyline and characterizations, and stylistically conservative, "At First Sight" is the latest film directed by veteran producer Irwin Winkler ("Rocky") and stars Val Kilmer as a blind man given the chance to see with help of the love of his life played by Mira Sorvino. An "amazing true story" that stresses personalities and relationships rather than believability, the film delivers tear-jerking melodrama for undemanding audiences, but misses almost every chance to challenge one's intelligence.
Meanwhile, the biggest obstacle to approaching this film on its own glossy, romance-novel terms is the unattractive denseness of Sorvino's Manhattan gal Amy and just about everyone involved with hockey fan and master masseur Virgil (Kilmer). The main man himself, with Kilmer credible as a sightless dreamboat with the gift of healing hands, endures enough thoughtlessness, selfishness and cluelessness to flabbergast and completely discourage a small county.
Sorvino fares okay in the angelic/sexy girlfriend role, but it's her pushy character's efforts that draw small-town Virgil to the city, where he's operated on by upbeat Dr. Charles Aaron (Bruce Davison). It's her wish that he be able to see, but he doesn't want to until he decides, among other things, that it's the only way to keep her. He eventually learns: "When you see what's real about yourself, you've seen a lot. And you don't need eyes to do that."
Virgil's get-away-from-him-you-witch sister (Kelly McGillis) is a dreary party pooper and martyr, and she's also dumbfounded by the fact that acquiring sight after decades of blindness might take more than a few minutes of screen time to get used to. Patience, encouragement, more of the tremendous process of learning what shapes go with what words and concepts ... no way. Virgil has to get a life -- now!
Credited to Steve Levitt, the screenplay is weighted down with routine conflicts and precious little details that amount to an unusually tortured romance -- Virgil's miracle cure wears off as impatient Amy starts flirting with her leering ex-husband (Steven Weber) -- which can unintentionally cause giggling fits at inappropriate moments.
A case in point is Nathan Lane as the tough-talking but compassionate "vision therapist." Even he is rushed and harsh with Virgil. Returning to his more blessed presight incarnation, the Christlike lead does get revenge of sorts on his faithless loved ones, putting them through major guilt trips.
AT FIRST SIGHT
MGM Distribution
Director: Irwin Winkler
Screenwriter: Steve Levitt
Producers: Irwin Winkler, Rob Cowan
Director of photography: John Seale
Production designer: Jane Musky
Editor: Julie Monroe
Costume designer: John Dunn
Music: Mark Isham
Casting: Billy Hopkins, Suzanne Smith, Kerry Barden
Color/stereo
Cast:
Virgil: Val Kilmer
Amy: Mira Sorvino
Jennie: Kelly McGillis
Duncan: Steven Weber
Dr. Charles Aaron: Bruce Davison
Phil Webster: Nathan Lane
Running time -- 128 minutes
MPAA rating: PG-13...
Slow-paced and ponderously plotted, predictable in storyline and characterizations, and stylistically conservative, "At First Sight" is the latest film directed by veteran producer Irwin Winkler ("Rocky") and stars Val Kilmer as a blind man given the chance to see with help of the love of his life played by Mira Sorvino. An "amazing true story" that stresses personalities and relationships rather than believability, the film delivers tear-jerking melodrama for undemanding audiences, but misses almost every chance to challenge one's intelligence.
Meanwhile, the biggest obstacle to approaching this film on its own glossy, romance-novel terms is the unattractive denseness of Sorvino's Manhattan gal Amy and just about everyone involved with hockey fan and master masseur Virgil (Kilmer). The main man himself, with Kilmer credible as a sightless dreamboat with the gift of healing hands, endures enough thoughtlessness, selfishness and cluelessness to flabbergast and completely discourage a small county.
Sorvino fares okay in the angelic/sexy girlfriend role, but it's her pushy character's efforts that draw small-town Virgil to the city, where he's operated on by upbeat Dr. Charles Aaron (Bruce Davison). It's her wish that he be able to see, but he doesn't want to until he decides, among other things, that it's the only way to keep her. He eventually learns: "When you see what's real about yourself, you've seen a lot. And you don't need eyes to do that."
Virgil's get-away-from-him-you-witch sister (Kelly McGillis) is a dreary party pooper and martyr, and she's also dumbfounded by the fact that acquiring sight after decades of blindness might take more than a few minutes of screen time to get used to. Patience, encouragement, more of the tremendous process of learning what shapes go with what words and concepts ... no way. Virgil has to get a life -- now!
Credited to Steve Levitt, the screenplay is weighted down with routine conflicts and precious little details that amount to an unusually tortured romance -- Virgil's miracle cure wears off as impatient Amy starts flirting with her leering ex-husband (Steven Weber) -- which can unintentionally cause giggling fits at inappropriate moments.
A case in point is Nathan Lane as the tough-talking but compassionate "vision therapist." Even he is rushed and harsh with Virgil. Returning to his more blessed presight incarnation, the Christlike lead does get revenge of sorts on his faithless loved ones, putting them through major guilt trips.
AT FIRST SIGHT
MGM Distribution
Director: Irwin Winkler
Screenwriter: Steve Levitt
Producers: Irwin Winkler, Rob Cowan
Director of photography: John Seale
Production designer: Jane Musky
Editor: Julie Monroe
Costume designer: John Dunn
Music: Mark Isham
Casting: Billy Hopkins, Suzanne Smith, Kerry Barden
Color/stereo
Cast:
Virgil: Val Kilmer
Amy: Mira Sorvino
Jennie: Kelly McGillis
Duncan: Steven Weber
Dr. Charles Aaron: Bruce Davison
Phil Webster: Nathan Lane
Running time -- 128 minutes
MPAA rating: PG-13...
- 1/11/1999
- The Hollywood Reporter - Movie News
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