Movie Review: Love and Other Drugs

By Matthew Huntley

December 2, 2010

So what's this I hear about Taylor Swift?

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From then on, Jamie makes it his mission to look for the best care and doctors money can buy, even though it’s clear he’s doing it for himself and not Maggie. This is followed by the age-old moment where everything comes crashing down and the movie tries to instill doubt that the couple might not live happily ever after.

Some viewers may wonder if Love and Other Drugs exploits Parkinson’s patients for dramatic effect, and the answer, ultimately, is no, although it comes close. There’s a particularly shameful scene when Maggie handles a pair of scissors and it plays out like a horror movie: will she cut herself and spill blood? But the movie is careful not to undermine the disease and does take the time to show its effects. However, these scenes only come in short bursts and we never get the idea it wants to tell us anything about the disease we don’t already know. It only wants to skim the surface and not get in the way of the contrived love story.

What the movie does exploit is all the romantic and raunchy clichés we’ve come to expect from the genre but which no longer affect us. This goes especially for the American Pie-type moments, as when Jamie has sex with another employee in the stock room of the electronic store and her cell phone accidentally dials her boyfriend so he can listen in on their debauchery. I also didn’t laugh at the rather extraneous scene when Jamie attends a pajama party and is force-fed his company’s latest miracle drug, Viagra (the movie begins in 1996), only to get an erection that won’t go down. The whole predicament doesn’t have much of a payoff and I wondered what the point of it was other than attempted humor. By this point, though, the movie had already crossed the line of trying to be more earnest than crude.


The thing about Love and Other Drugs is it acts like it has all these points - both amusing and dramatic - to make about the medical industry, love, commitment, etc., but it doesn’t have the courage or know-how to make them in a clear way. Did the filmmakers even know what they wanted to say? Their movie just meanders from one genre and theme to another until it reverts to a purely auto-pilot conclusion, spearheaded by a most contrived scene - when Jamie stumbles onto a tape where Maggie talks about “living in the moment,” or something like that, and races after her bus heading that’s heading to Canada for cheaper medicine.

After that, the usual pieces fall into place and all is right with the world. But it’s only right in Jamie and Maggie’s fictitious world. The movie’s insinuated points and arguments about the real world are tossed aside and we leave the theater not feeling affected or more learned than when we went in. The only thing we got out of it was a conventional romance, and that we’ve seen before.

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