Movie Review "The Soloist"

By Christian Toto http://whatwouldtotowatch.com/


"The Soloist” oozes with obvious Oscar potential.

Two terrific leads. A Brit director coming off the highly regarded, albeit overrated, “Atonement.” And a subject - mental illness - that’s often irresistible to Academy voters. So why did it get bumped from December 2008 to April 24, a decidedly un-Oscar friendly release date? You might still be wondering that question mid-film, because the movie’s innumerable flaws, mostly minor with one glaring exception, haven’t come into focus quite yet.

Robert Downey, Jr. is Steve Lopez, an LA Times reporter - that’s someone who works at an old-fangled place called a newspaper, kids - who meets a homeless man with a remarkable back story.

Nathaniel (Jamie Foxx) once attended Julliard, but now he lives on the street, spending his days filling the City of Angels with heavenly music.
It’s the notes in his head that are all off key. Mental illness derailed a once promising career, but Steve thinks he can help Nathaniel rebuild his life.
“The Soloist,” based on a true story, doesn’t succumb to the usual cliches concerning mental illness. Expect no miracle cures or amazing bouts of sanity at just the right time.

The film’s real problem involves the reporter, not the mental patient. We simply don’t get to know him well enough to care. Is he a jerk? A selfless man looking out for others? A combustible combination of the two?
The film can’t decide, and as good as Downey, Jr. is here he can’t make the decision for us. Squandered support from Catherine Keener as his ex-wife doesn’t help, nor do several intrusive scenes in which we learn what a wonderful, caring mayor LA has. And the film could ease up on the U.S. flag imagery. At one point, Nathaniel goes so far as to sport an Uncle Sam hat, another prop from his Homeless ‘09 collection.

“The Soloist” is occasionally moving, and it reminds us of the vibrant role the arts can play in all our lives. The musical sequences, although often overwrought, can’t help but move us. But given the talent on board and the fascinating true tale behind it, it’s no wonder the film morphed from Oscar bait to a sporadically engaging spring release.