Laws of Attraction

Laws of Attraction arrives as a comedy directed by Peter Howitt, and its first strength is a clear sense of purpose. Pierce Brosnan and Julianne Moore give Laws of Attraction a recognisable human centre before the larger mechanics take over. The central situation in Laws of Attraction comes into focus without a long explanation: Amidst a sea of litigation, two New York City divorce lawyers find love. Across its 1h 30m running time, Peter Howitt keeps Laws of Attraction uncertain about tone and dramatic emphasis.

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Visually, Laws of Attraction is most persuasive when performer rhythm guides attention without becoming an attraction separate from the drama. Deep River Productions supports Laws of Attraction with performer rhythm, giving individual scenes a shared design logic. The Ireland production character of Laws of Attraction is clearest in its use of comic timing built around character to make place feel consequential. Even during its busiest moments, Laws of Attraction benefits from an edit and sound mix that protect the immediate emotional line.

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Laws of Attraction relies heavily on Pierce Brosnan, and the performance responds with enough specificity to carry changes in mood. The contribution of Julianne Moore gives Laws of Attraction a useful counterweight instead of merely echoing the lead. Parker Posey makes the smaller exchanges in Laws of Attraction count, often through timing rather than emphatic dialogue. Peter Howitt understands that Laws of Attraction becomes more persuasive when the cast can imply feelings before the script names them.

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Laws of Attraction finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Pierce Brosnan, Laws of Attraction makes that examination feel personal before it becomes broadly symbolic. The idea of Amidst repeatedly returns Laws of Attraction to the cost behind its more visible developments. Peter Howitt is most persuasive when Laws of Attraction allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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Laws of Attraction benefits from Peter Howitt being uncertain about tone and dramatic emphasis about what each sequence needs to accomplish. Instead of making every beat equally loud, Peter Howitt lets Laws of Attraction create contrast between pressure and release. Isolated moments suggest a more compelling version throughout Laws of Attraction, with the strongest decisions feeling connected to character rather than display. It is still fair to say that Laws of Attraction suffers because events happen without gathering enough dramatic force, but the problem remains contained.

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Laws of Attraction is most involving when the screenplay allows Amidst to complicate what initially appears to be a story about New York City. That shift gives Pierce Brosnan a more specific problem to carry through Laws of Attraction. Working from material credited to Aline Brosh McKenna, Laws of Attraction reveals the central character at a measured pace instead of rushing toward its largest turn. The later pressure around an important relationship shows why Laws of Attraction benefits whenever cause and consequence remain visibly connected.

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Taken as a whole, Laws of Attraction is a film for only the most curious members of its likely audience for comedy fans who respond to personality and timing. Laws of Attraction leaves its strongest impression through performer rhythm, the work of Pierce Brosnan and a clear understanding of tone. The limitations around how events happen without gathering enough dramatic force should be acknowledged, but they do not erase what Laws of Attraction does well. I would return to Laws of Attraction for its personality and its willingness to connect genre pleasure with recognisable feeling.