Directors: Jonathan Dayton, Valerie Faris
Cast: Paul Dano, Zoe Kazan, Chris Messina, Annette Benning, Steve Coogan
Running time: 104 minutes
Certificate: 15
Synopsis: Lonely writer Calvin overcomes his writer’s block when he creates his perfect woman – the enigmatic Ruby Sparks. But when she suddenly materializes as his actual girlfriend, Calvin discovers its not as easy to control a relationship in real life as it is on the page…
After the success of LITTLE MISS SUNSHINE, there’s no doubt that directors Jonathan Dayton and Valerie Faris would have felt the pressure of expectation. And it’s not just box office success that concerns the husband-wife duo; they’ve hinted that they turned down Hollywood offers following LITTLE MISS SUNSHINE, rejecting half-baked ideas in favour of a more artistically satisfying project. Such creative integrity creates as much expectation from oneself as anyone else, especially when tackling the ‘difficult second album’. It’s this very problem that plagues tormented genius Calvin, whose difficulty following up his acclaimed debut novel kicks RUBY SPARKS into gear.
Leading the charge is Paul Dano, who plays Calvin with neurotic relish (his exchanges with Elliot Gould’s therapist are a joy), and brilliantly shuffles and mumbles his way through the movie. The character is an amalgamation of every troubled artist we’ve seen before, though also uncomfortable enough in his own skin – alright, cardigan – to be perfectly likable, despite an inherent superiority complex. In fact, Dano heads up a superb cast, with notable turns from Steve Coogan, Antonio Banderas, and the excellent Chris Messina as Calvin’s jock brother (some of the film’s funniest scenes belong to him and Dano).
Zoe Kazan, who co-wrote the script, also shines as the delectable Ruby, but the character bookmarks the film’s biggest problem – its premise is nowhere near as original as it thinks it is. Part STRANGER THAN FICTION, part WEIRD SCIENCE, RUBY SPARKS’ concept has been done before; not only that, but we’ve seen the character too. Ruby’s sub-indie ‘kookiness’ has (500) DAYS OF SUMMER written all over her, and though that doesn’t necessarily make for disagreeable viewing, an artist who’s put the weight of creative expectation on his or herself might not be entirely be satisfied with this aspect of the story (be it fictional artist Calvin, or very real artists Dayton, Faris, and Kazan).
That’s not to say there aren’t some original touches along the way. There’s lots of fun to be had as Calvin discovers his authorial power over Ruby, but the film really comes into its own in the third act, fleshing out traits in Calvin’s personality that go deeper than his artistic integrity. There is in fact something much darker beneath his wistful looks and nerdy wardrobe; as he begins to lose control of his creation – AKA girlfriend – the script takes some unexpected twists, creating a welcome and unnerving sense of unpredictability, and offering up a logical, ballsy conclusion when others would have undoubtedly copped out.
Though imperfect, there is much to like – adore even – about RUBY SPARKS. Its characters are well drawn, and much like Ruby herself, brilliantly realized. It’s both funny and sad, with the best and worst of Calvin and Ruby’s relationship affecting in equal measure. It might not be quite LITTLE MISS SUNSHINE, but it’s certainly one of the year’s most endearing efforts: heartfelt, well intentioned, and very nicely constructed. And what artist could be disappointed with that?
RUBY SPARKS arrives in UK cinemas 12th October
