If Maguire is a teenager, then Caine is his father, watch this relationship go up and down, and swing by gleefully being a carefree kid, once again.
Hallstrom is a funny man when it comes to shine the humor on a mellow drama as such. With introducing characters smoothly as installing jokes in sensitive situations, the director, Lasse Hallstrom has perfectly timed the tracks of each character syncing in one melodious and also ironically chaotic room. And boy how sketchy it looks and how sitcom-y it feels. You’ll be giddy up for this whimsical world rooting each perspective wishing them to be successful just to see how far do they push the boundary to tone the temperature to their preferences. I am drawn to this light-footed world because I grew up watching them (it defines the 90s at best) with my brother in a lazy Sunday morning, I may not be an unbiased judge, but it surely is thoroughly engaging and entertaining.
What makes this script complete above all, is equal contribution of the characters in the final product. They come in with a new lexicon, fresh beat and originality in their opinions, they ought to stand alone, even the sinister ones, if thought about it, there is something sparkly about them; wrong definitely. Tobey Maguire proves it was a perfect casting, from being childish to a smart cookie- at least in his own field- he is the dream protagonist to such a rom-com.
Charlize Theron is the most misleading person in the film, admittedly she is successively on the wrong track, bridging the equation with a balanced natural view. But to me, this will always be Michael Caine’s film. He mourns, he guides, he mocks and he comforts. His eyes gazes into an object and it somehow comes alive, so beautiful is his language and so picturesque his notes to these so called adolescent beings- the letter are some of the best part of the film- that you feel you learned something new, outside The Cider House Rules.