It’s so unfortunate that Aloha, the new Cameron Crowe film, will forever be remembered for its supposed “whitewashing” and controversial casting of Emma Stone as a quarter-Hawaiian character. Because what it should really be remembered for is being a shit movie.
Truth be told, I was ready to play devil’s advocate. I had planned to be the guy to tell everyone to lay off this film. Seriously, all that furore over the lack of Hawaiians and the casting. Who gives a shit? It’s Crowe’s movie. It’s his prerogative to focus on whatever characters he wants, cast whoever he wants. Why can’t a film based in Hawaii focus on white characters? Are there no white people in Hawaii? Are there no white soldiers based there? Why must he tell the story you think he should tell rather than the story he wants to tell? Call it bad casting or writing, but don’t make it political. It would be a different story if the film was based on true events, but it’s not, so what’s the big deal?
To be fair, Stone’s character might have attracted less attention had she not been blonde and her surname not been “Ng”. It may have been wiser to make her say one-eighth or even one-sixteenth Hawaiian, or change the last name to something more Anglo. But you’re telling me there are no blonde quarter-Hawaiians in this world? Or that there are no blonde Ngs on this planet? (Apparently the character was based on a real-life red-head). Don’t shit on the movie because of that — not when there are so many other things you should be shitting on the movie for.
Let’s start with the premise. Bradley Cooper is Brian Gilcrest, a disillusioned, cynical former soldier who has become a contractor for a billionaire played by Bill Murray. Gilcrest goes to Hawaii to help negotiate a deal with a Hawaiian king to support the launch of a private satellite, and while there, he meets young and naive pilot Allison Ng (Stone) and bumps into his ex-girlfriend Tracy (Rachel McAdams), who is now married to Woody (John Krasinski) and has two kids.
If that sounds boring to you, that’s because it is. Crowe’s got some interesting ideas on his CV, such as Jerry Maguire, Almost Famous, We Bought a Zoo, but Aloha is not one of them. The film never seems to be able to settle on a proper focus, drifting around aimlessly between Gilcrest’s work and his relationships with Ng and Tracy. The problem is, none of those three things are compelling. They’re either uninteresting, cliched or predictable. Crowe is usually pretty good tricking audiences into falling for sentimentality, though in this case I thought all the tactics were far too obvious.
To make matters worse, none of the characters are charismatic, which is an amazing feat given that it stars three of the most charismatic actors around today in Cooper, Stone and McAdams. Gilcrest just seems blase all the time, while Ng is overly enthusiastic about everything, to the extent that her character feels contrived. Tracy isn’t very sympathetic either, and Woody only has a few scenes to provide comedic relief.
Speaking of which, though the film is promoted as a comedy-drama, Aloha is almost completely devoid of laughs. I can’t think of a single joke in the film apart from one very strange scene towards the end, though it is so different in tone to the rest of the film that it just becomes jarring.
I suppose Crowe was aiming for a Hawaiian-themed film similar to Alexander Payne’s 2011 effort The Descendants (the one with George Clooney and Shailene Woodley). That one was also a laid back drama with familial themes, but it was also much better crafted and a lot funnier. Aloha, on the other hand, is all over the place, with a dull premise, poor storytelling and characters not worth caring for. I kept wondering how such a simple story could be such a struggle to follow, and then I realised it was because I simply didn’t care enough. Even without the controversy, Aloha is a real mess, one that even its talented cast could not salvage.
1.75 stars out of 5