Mike Cahill’s science fiction/moral compass flick Bliss borrows heavily from several films within that milieu. As a whole, his endeavor never manages to strike a chord that is solely its own.
The Amazon Prime original film premieres on February 5. One thing is for certain. For the countless souls who openly admit to having a healthy appreciation of the “good ole days,” Bliss offers a repeated opportunity to answer an age-old inquiry centered around if you could safely return to the so-called glory years, would you?
Now, this is not necessarily the plot framework of Cahill’s latest artistic achievement. But what does occur in Bliss should have one re-thinking that longing for the past way of life.
Owen Wilson stars as Greg, who is not having the best of times. He is a divorced—and recently fired—father of two whose daughter is graduating high school today. Whether or not he will make the ceremony speaks volumes as to the quality of life Greg currently enjoys, and the co-parenting arrangement Greg has with his ex. He may be enjoying a cocktail with his new, mysterious, and gypsy-ish friend Isabel Clemens (Salma Hayek) in a move that speaks more volumes about his ex than the connection to the Mexican-born actress.
There is a special spot in my cinematic heart for films that play with time and alternative realities—something inherently appealing about the idea that the timeline that is what the rest of the world calls a lifetime, is not set in stone. Cahill has not produced a time-traveling tome in any way. But we are certainly spending time in that ballpark.
Isabel helps Greg discover that The Matrix may have been more science fact as opposed to science fiction. Isabel may be homeless, but don’t let her lack of a roof over her head fool you into thinking that she’s a few fries short of a Happy Meal. Her situation recalls an old Hebrew school story our rabbi used to refer to quite often. He would frequently remind us that 2,000 years ago, those walking the streets talking to themselves were more known by another moniker—prophet. Is Isabel such an entity?
There is something about her that intrigues Wilson’s Greg, to the point he’s ready to throw away whatever is tethering him to his life right now, and that is solely his children.
Cahill has interwoven a tale that won’t have you questioning your reality, a la The Matrix, but it does spur the viewer to examine their professional and personal reality. The concept of “choice” is somewhat avoided as a whole where the opportunity to tackle that reality to a majority of moviegoers is a swing and a miss by the filmmaker.
The crossroads of fate, choice, and situational drama had us searching for more than Bliss had to offer. It is a halfway decent film, it’s just that the payoff isn’t worthy of the journey.
Wilson has always been the most curious of actors. He has innate gifts. He needs to be vested in the role and in the right story… with the right director. For example, he was impeccable in 2011 Midnight in Paris. Woody Allen knew exactly what was needed from his lead actor in order to make the entire fantastical film work.
Wilson also has found that with Wes Anderson. From 1996’s Bottle Rocket through The Grand Budapest Hotel to what can be gleaned from The French Dispatch trailer, Wilson has a creative compatriot in Anderson. The same can be said with Wilson’s latest and its helmer, Cahill. Where reality and the truth collide in Bliss is firmly in the wheelhouse of the Wedding Crasher star.
Hayek plays Isabel with just the correct amount of mysteriousness and yes, even a sprinkle of manic-driven mayhem. She certainly derives some pleasure that her presence has altered the timeline of a man who, until “yesterday,” in this world, was leading a perfectly “normal” existence. The core to the entire movie’s landing with its audience or not lies in the hands of the actress. If one identifies with her, it works. Otherwise, it’s difficult to follow a character who is essentially leading a meandering soul right off a cliff of uncertainty with a touch of reality and time-bending bounty.
This fantastical duality that Cahill has interwoven doesn’t quite hold water. Worse still, the film carries itself off as if it has paved a path that is not only unique but blazing trails of originality. From the Wilson side of the road, the actor does everything he can to bring legitimacy to the endeavor. There is a persona that he has established over the years and there is a variable of that equation in this film and is one of Bliss’ bright spots.
Hayek does something similar with her Isabel. Whereas it works for Wilson, due to the complexity of what Hayek’s character brings to this tale, so much more is needed. Cahill should have directed her differently. Yet he mistakenly also believed that how Isabel is being presented is pitch-perfect.
Sadly, since Cahill is also the writer here, a little distance might have been necessary to see that in fact, what he was capturing with his camera was anything but “perfect.”
Grade: C