THE SYNOPSIS Chicago, 2006. Lovely new doctor Kate Foster, M.D. (Bullock) is journeying from the quiet suburbs to work as an E.R. doctor at a huge city hospital. She’s leaving behind the cozy, idyllic comfort of her rented, glass-encased lake house on a placid lake (and thusly, an extension of her psyche) for a more turbulent environment. Troubled by an unfulfilled personal life, Kate nonetheless exudes a kind temperament. Before leaving with her little dog, Jack, Kate places a note in the mailbox for the next tenant. How sweet of her! The next tenant in question is Alex Wyler (Reeves)--an earnest, introverted architect who moves into the lake house that was built by his famous architect father, Simon Wyler (Plummer). Naturally, there is some father-son tension involved. Finding Kate’s note in the mailbox, Alex is intrigued and baffled by it because of the date. It says 2006--which Alex knows is hogwash because it’s 2004. Soon, the two begin to correspond via that mailbox and come to realize that they are communicating 2 years apart! Can it be real? As time goes by, Alex and Kate fall in love (albeit 2 years apart) and their letters grow more passionate. Will they meet or will they go their separate ways--with Alex working with his architect brother Henry (Moss-Bacharach) while Kate gets engaged to decent-but-distant old flame Morgan (Walsh)? Perhaps Fate may intercede, as Death stalks our protagonists. Does the Grim Reaper put a damper on things or does Love win out in 2006? See the movie! THE CRITIQUE Having Keanu Reeves and Sandra Bullock hooking up on-screen after a 12-year hiatus--they hooked up in 1994’s Speed (for all you youths out there)--must’ve sounded good on paper. Heck, even on-screen they still have some chemistry together; but the material is less than solid. More on that later. The cast is totally acceptable. Now that he has no more Matrixes to destroy, Keanu must find new outlets for his dreamy, Zen-like acting method. It works here. For my money, Sandra Bullock is always a pleasure to watch. Though now past-40, she exudes a restrained-yet-sexy performance as the sad doctor. Don’t be sad, Sandra: in my book, you’re is still fine! P.S.: 40 is the new 30... Based on the South Korean movie Siworae (aka: Il Mare) (2000) and to some extent (and in my humble opinion) Jeannot Szwarc’s hauntingly-beautiful Somewhere In Time (1980), THE LAKE HOUSE definitely has its heart in the right place. As written by Proof author/screenwriter David Auburn, the movie tackles issues like loneliness, unfulfilled lives, predestined love and other heavy facets of the little thing I like to call The Human Experience. It is easy to view the proverbial Lake House as a tranquil haven for turbulent lives (without getting too existential). Problem is, it all feels a little lightweight. Better is the lyrical direction by Argentinean helmer Alejandro Agresti (Valentin). Nice compositions, solid acting from his cast and a snug, dreamy quality to the entire production tells me this guy will directing studio pictures for a long time to come. Also worthy of mention is the elegant, widescreen-lensing by Quebecois cinematographer Alar Kivilo (The Ice Harvest/Hart’s War/Frequency) and interesting production design by Christopher Nolan’s terrific PD, Nathan Crowley (along with that director, he designed Batman Begins & Insomnia [2002]). The centerpiece of the movie, the actual glass house on the lake is lavish. Other tech credits (editing, production design, score, costumes, etc.) are right on target. THE BOTTOM LINE Well, at least it’s nice to see Keanu and Sandra reunited again. This gig’s gotta be better than the last detail they acted in together (Speed)--for them I mean, not for us! Good cast, nice cinematography, earnest material--albeit a stretch. Viewable for those hopeless romantics out there. As for me, I’d have no problems renting a lake house to a fine tenant such as Sandra Bullock--as long as I get stick around and build cozy fires in the fireplace... CAST: Keanu Reeves, Sandra Bullock, Christopher Plummer, Ebon Moss-Bachrach, Willeke van Ammelrooy, Dylan Walsh, Shohreh Aghdashloo, Lynn Collins CREDITS: Director: Alejandro Agresti; Screenwriter: David Auburn, based on the motion picture "Il Mare" produced by Sidus; Producers: Doug Davison, Roy Lee; Director of Photography: Alar Kivilo; Production Designer: Nathan Crowley; Editors: Lynzee Klingman & Alejandro Brodersohn; Costume Designer: Deena Appel; Music: Rachel Portman AC/AL 2006 98m ENGLISH