LIFE OR SOMETHING LIKE IT-

In a few sequences, “LIFE OR SOMETHING LIKE IT” offers some creative twists on an older premise, what would a character do if told they only had a week to live? In the case of a beautiful news reporter named Lanie(Angelina Jolie) the chance to take a personal inventory makes for much less of an epiphany than we’d expected.

When a main character in the above-type situation has all the superficial things in the world, but is empty of love, ala “Ebeneezer Scrooge, one expects their transformation to mean something.  But, somehow, the main character’s inner-revelations don’t feel too inspiring, and it’s not that the theme is bad, because, for the most part, even new adaptations of “A Christmas Carol” work!

The best thing the film’s got going for it is the chemistry between Lanie(Jolie) and Pete(Ed Burns). Pete works with Lanie as her cameraman, and he’s also a former   boyfriend, whom she intensely dislikes. Of course, the rekindling of their relationship is predictable, but it’s still engaging to watch it unfold. 

There are other good things about the film, but it’s so inconsistent in its tone, that it’s difficult to not feel manipulated without any real payoff!

Jolie shows up drunk for a news report with striking city workers, and begins to lead a chorus to “Satisfaction” by the Rolling Stones.  It’s actually kind of amusing in an unrealistic way. But, a few scenes later the film’s mood is almost dismal, then back again!  It’s frustrating!

20^th Century Fox has provided this release with the proper 2.35:1 aspect ratio and 16:9 enhancement.  A cropped version is also offered, but it’s much grainer from the blow-up than most cropped films.  While the 2.35:1 imagery doesn’t often take advantage of potential compositions, it’s generally pleasing, and of course, far preferred over the cropped version.  Colors are vibrant, and there’s great clarity and depth to every scene. Contrast is fine, with deep blacks and grays.  Fleshtones appear natural.  

 The Dolby Digital 5.1 mix is somewhat restrained, but the dialogue-heavy content doesn’t call for an abundance of surround effects.  Surrounds do come into play in creative methods, however, in relation to the film’s soundtrack, and a few ambient effects.  Dialogue is always intelligible and free from distortion. 

 The film’s director, Stephen Herek provides a running commentary.  It’s surprisingly entertaining and even insightful at times.  However, there are some long gaps at times.