Romantic comedies often live and die by the chemistry between the main characters. Sadly, there isn’t a whole lot of spark in Aloha. It’s a laid back effort from normally reliable director Cameron Crowe (Say Anything, Jerry Maguire, Almost Famous) that offers a few cute moments here and there, but doesn’t build up enough goodwill or compassion to charm viewers.
Brian (Bradley Cooper) is a hardened military contractor who returns to Oahu to try and rebuild his career after nearly being killed on the job. His assignment is to help billionaire industrialist Carson Welch (Bill Murray) negotiate a private deal with locals and the military to get a high tech satellite into orbit. However, the trip also grants him the opportunity to reconnect with old flame Tracy (Rachel McAdams). Acting as a “watchdog” on his travels is a stiff but enthusiastic Air Force pilot named Allison (Emma Stone).
It’s a romance that we’ve seen many times before, as the cynical Brian butts heads with the eager Allison, before the two begin to find common ground. The protagonist also must come to terms with the deviousness of his job and the negative implications of his employer’s satellite. Along the way, he encounters military oddballs, played by the likes of Jon Krasinski, Danny McBride and Alec Baldwin.
There are some funny moments, particularly from Alec Baldwin’s gruff Air Force General who is less than impressed with Brain. He bluntly and humorously makes it known how much Brian is distrusted. Krasinski’s helicopter pilot (and husband of Tracy) is a man of few words and the movie milks his lack of conversational skills for a laugh or two during a strange dinner visit.
Yet, there’s an odd cadence to the dialogue, particularly between the lead and Allison. The characters are written a bit broadly and their banter never quite comes across as naturalistic. It definitely results in a lack of chemistry. The budding relationship between the two, which is the heart of the movie, comes across as forced. Their relationship feels artificial and so it is difficult to become interested in their personal or career plights. Tracy’s kids are also written too eccentrically, with the youngest regaling Hawaiian legends and myths to the lead. Intended to be funny, it never feels real.
This is also a shaggy movie. At times, the conversations feel overly extended and become repetitive. And yet we don’t really feel like we know enough about these people. The movie also has some serious pacing issues following the climax, where it winds down in an unusually slow manner. Additionally, there is an overuse of extended, knowing soft focus glances and stares between characters. The technique works once or twice but becomes forced and doesn’t inspire much emotion.
The general sentiment of Aloha is fine and a few elements work here and there, but in general it all feels lethargic and doesn’t ever add up to much. The romance isn’t endearing and the comedy generates infrequent laughs. This effort never quite nails the tone and feels like a missed opportunity.