Well, if you’re a better singer than her, things might not work out.
Cathy (Anna Kendrick) and Jamie (Jeremy Jordan) meet for the first time and it seems like love at first sight. They kiss, make love, yell, scream, shout, holler, sing, dance and generally just act like fools who have finally found that one and only special someone that they have been waiting to find their whole lives. However, like with most relationships that start off as lovely, as promising, and and as loving as this, things begin to get a bit complicated. Cathy is an actress that’s struggling to make it big, and instead, more or less takes a backseat to Jamie’s life as an acclaimed, best-selling author. Jamie, on the other hand, has problems with fully committing himself to this relationship, especially due to the fact that he cannot stop checking out other woman and wanting to possibly sleep with them, if only for one night. Both of their heads clash, although, at the end of the day, they’re love is what keeps them coming back to the same sides of the beds, night in and night out, for at least five years.
Oh, and by the way, it’s all sung.
Okay, that’s a bit of a fib. There is maybe 8% of this movie that features some sort of spoken-dialogue, but the rest of that 92% is all singing, all dancing, all tapping, and all music, baby! To some, more macho viewers out there who can’t be bothered with two younglings constantly frolicking all over the screen, professing their love to one another, as well as to the rest of the audience sitting back and watching, it may not seem like the most ideal flick to catch. But for people who appreciate a fine musical, done well enough to where they stop caring about all of the singing, dancing, and professing of love, then sure, it’s okay.
That’s if you only pay attention to Anna Kendrick and Anna Kendrick only.
Because, I’m afraid to say, she’s the only real reason to see this movie. Sure, the movie’s song and dance numbers bring some fun and froth to the proceedings, but what it really comes down to the most, is Kendrick; she’s absolutely letting it all out on each and every song, not once forgetting about the central message of them, and sure as hell not forgetting about that lovely little charm of hers that makes her so damn watchable to begin with. She just about owns this movie and allows for Cathy to come off like a small, scared girl that wants to hit it big, but also doesn’t want to stay in the shadow of her man for too long – she wants to branch out as soon as possible, but she doesn’t want to lose what she beholds the most, her man and his love.
And speaking of her man, Jeremy Jordan is fine, if only because the dude can actually sing. Though I didn’t believe him as the kind of girl that sweeps women off of their feet and is a record-breaking author in today’s day and age, he still sang well and I guess that was sort of the point. I wasn’t supposed to buy him as a character, as much as I was supposed to buy him as a guy who sings an awful lot about being in love, treating that love with kindness and respect, and never forgetting about what makes him live and breath, each and everyday.
It all sounds so beautiful and heartfelt, however, the movie doesn’t always come off that way. It’s more cloying than anything, which probably suits people who are more used to seeing this on the stage, rather than adapted for the screen, where instead of an audience out in front of them, they are literally playing for themselves and whoever is behind the camera. Though this may be have been incredibly uncomfortable to film, not just for Kendrick or Jordan, but everyone involved with it, it hardly shows. Instead, they all seem to really be giving it their all with every ounce of heart and humanity that they’ve got.
Problem is, it’s sort of wasted on a stale premise that doesn’t really say (or, I guess, in this case, “sing”) much of anything new that we haven’t already seen, or heard in most romantic-dramas.
Except that this time, of course, everybody’s singing and dancing. That wouldn’t have been so bad, had the songs been memorable and fun, but in the end, they just come off like listening to your favorite easy-listening station: Sure, a lot’s being sung about, but is any of it really grabbing you? It may holler and belt out lyrics about love, heartbreak, and the pain it causes all of those involved with it, but is it really changing your view on the world of romance, or better yet, what happens after that all goes away and you have to put up with being content with a person you don’t really care much for anymore?
It’s all nice to hear, but you’re not really listening to it unless you’ve fully taken it in, you know? And because of that, the Last Five Years falls flat. It’s a musical that boasts on and on about how its central love story is as rich and pure as you can get, but it ends up coming and going like the several conventional plot-threads that weave in and out of this story to make the emotions seem all the more heightened.
Could Jamie really hook up with that hot, young intern at his place? Will he ever learn to let his writing-career be put on the back-burner so that he can focus more attention on Cathy’s possible life on the stage? Will Jamie just learn to stop being such a wuss and commit already? Or better yet, will Cathy? Oh my gosh! I just don’t know!
It all sounds so very soapy, which is because, it is; except that it’s a soap opera where the later part is actually taken literally and jacked all the way up to 100 so that even the deafest dog can hear what’s being sung about, or by whom. Once again, not saying that the songs are bad, but when all you can really come down to is saying, “You know, love stinks sometimes”, you’re no better than the J. Geils Band.
Although, the J. Geils Band sure as hell didn’t have Anna Kendrick in them, so they were already at a supreme disadvantage to begin with.
Consensus: While boasting an impressive two-hander from Jordan and, especially, the ever-radiant Kendrick, the Last Five Years doesn’t quite go anywhere we haven’t heard, seen, or been sung about before.
5 / 10