Ron Howard‘s last two forays into the thriller realm were… not the highest example of the genre, to put it kindly. But I’m being kind for good reason: as a general admirer of his soft craftsmanship, it’s none too difficult to look past missteps and right into what’s next. Vulture have learned that, after this fall’s Rush, he might venture into a Bad Robot-produced fantasy-thriller, All I’ve Got, set up at Paramount Pictures. Not just another story about running around European cities looking for a clue.
The remake of (this is new) an Israeli TV movie, Howard‘s prospective film would center on young lovebirds torn apart by a car accident which kills the male side. Our female protagonist picks up and moves on with her life, getting married, having some kids of her own, and passing several decades later. But, in the afterlife, a proposition is sent her way: the woman can either sit around and wait for her own husband to die to be joined again, or restart things with her prior lover in some sort of time-traveling of the consciousness.
Far be it from me to nitpick specific categorizations of something I’ve yet to experience, but is, nonetheless, curious to hear this falls under certain parameters. Blame it on the director and the sound of this material (what else can you do?) when I say this reminds me a good deal of Cocoon — while not in the most exact of terms, with certain terms that still resonate. No matter how those outside circumstances could affect my overall perception, early as it is, the outline of All I’ve Got has a nice idea at its center. Maybe even nice enough to justify its eventual existence.
What are your impressions of Howard’s possible next project?
Welcome, one and all, to the newest episode of The Film Stage Roundtable, a spin-off podcast from the madmen who bring you The Film Stage Show. On this show, we discuss our favorite food-related movies and then we talk about crying at the movies. Give a listen, and then share your thoughts on Twitter and Facebook. Let us know what […]
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