I must admit didn’t see the Jennifer Lopez vehicle Angel
Eyes in a theater, but I think that the film is one that would probably that
works better on the small screen anyway. Despite its A-list talent, the film’s
production values are closer to those of a TV movie than a major motion picture,
and most dialogue scenes are rife with small continuity errors. Many shots
simply don’t match up, and the physical production of the movie seems
haphazard at best. The direction by Luis Mandoki, is wildly uneven, and attempts
to inject some flair into a film that works best when it’s at its most
stripped down. Camera trickery abounds, and next to none of it has any positive
effect. Still, despite its
technical shoddiness, much about the movie works. The plot, simple as it is,
doesn’t get in the way of the lead actors (Jennifer Lopez and Jim Caviezel),
who imbue this sentimental, but never overstated, material with an unfaltering
sense of absolute conviction. The movie, which is about as low key as Hollywood
melodrama ever gets, is utterly guileless, but it’s precisely this sincerity
that ultimately makes it endearing.
Even though at the start of the movie, it’s tough to tell
where Angel Eyes’ story is going (is
it a cop drama? a supernatural story? a romance?), the film doesn’t try to
trick us or take us in bold new directions. It unfolds, instead, with a quiet
respect toward its characters, and moves their stories naturally toward a
sensible conclusion. The most surprising element of the film is its mellowness,
and instead of getting swept up in the eventual romance that dominates its
running time, it stays grounded by reality, and just because the plot remains
relatively straightforward, doesn’t mean that the emotions that get stirred up
do. So much of the film’s success lies on the shoulders of the two leads, and
they never make a false step in their characterizations. Lopez has great lips
for pouting, and this somber script gives her ample opportunity to flex those
skills, though she’s equally convincing when handling a firearm. Caviezel’s
spacey demeanor slowly slides away to reveal some very real anguish. Together,
they have enough erotic charm to power the movie through the rough spots.
It’s a flawed film, to be sure, but there’s something about Angel Eyes that wins you over. The movie’s message, which states,
“Things don’t have to be perfect,” definitely applies here. Despite its
weaknesses, I’d give it a marginal recommendation. Teen girls, at least,
should eat it up.
I must admit didn’t see the Jennifer Lopez vehicle Angel
Eyes in a theater, but I think that the film is one that would probably that
works better on the small screen anyway. Despite its A-list talent, the film’s
production values are closer to those of a TV movie than a major motion picture,
and most dialogue scenes are rife with small continuity errors. Many shots
simply don’t match up, and the physical production of the movie seems
haphazard at best. The direction by Luis Mandoki, is wildly uneven, and attempts
to inject some flair into a film that works best when it’s at its most
stripped down. Camera trickery abounds, and next to none of it has any positive
effect. 
Even though at the start of the movie, it’s tough to tell
where Angel Eyes’ story is going (is
it a cop drama? a supernatural story? a romance?), the film doesn’t try to
trick us or take us in bold new directions. It unfolds, instead, with a quiet
respect toward its characters, and moves their stories naturally toward a
sensible conclusion. The most surprising element of the film is its mellowness,
and instead of getting swept up in the eventual romance that dominates its
running time, it stays grounded by reality, and just because the plot remains
relatively straightforward, doesn’t mean that the emotions that get stirred up
do. So much of the film’s success lies on the shoulders of the two leads, and
they never make a false step in their characterizations. Lopez has great lips
for pouting, and this somber script gives her ample opportunity to flex those
skills, though she’s equally convincing when handling a firearm. Caviezel’s
spacey demeanor slowly slides away to reveal some very real anguish. Together,
they have enough erotic charm to power the movie through the rough spots.
It’s a flawed film, to be sure, but there’s something about Angel Eyes that wins you over. The movie’s message, which states,
“Things don’t have to be perfect,” definitely applies here. Despite its
weaknesses, I’d give it a marginal recommendation. Teen girls, at least,
should eat it up.