Nine months later, when a pregnant Lyla winds up in the hospital after an accident, she's told that the baby she and Louis conceived that night has died. But morning brings the harsh glare of sunlight - and reality: Lyla is whisked away by her protective father (William Sadler), never to see Louis again. After meeting cute in Greenwich Village, they spend the night together. It's the heady cocktail that entwines two young musicians - Irish singer-guitarist Louis ( Jonathan Rhys Meyers) and reserved, brilliant cellist Lyla ( Keri Russell) - in this imperfect-but-winning film. I don't want my kids thinking that's love.Īh, young love. Other than that, I think it was a cute movie, and the story of the boy was great, but the parents' backstory is just a little too unbelievable. Both of us agreed that "love at first sight" is merely a first impression, and that what they did was irresponsible. After finishing this movie, my 11-year-old and I had a conversation about true love. I want my kids to see realistic love stories, like that between me and my husband, or some of our couple friends, not flimsy, weepy, unrealistic stories like this. After being separated, they both spontaneously decide that they were meant for each other and rush off to New York. First of all, they had a kid without even meeting a second time and completely disregarding birth control. Yes, it's cute, yes, it's heartwarming, yet it's also kind of disturbing. Apparently, after thinking about each other for the ELEVEN YEARS they've been apart, they drop everything and rush back to the place they met to find each other again, and also find their son. Both are unaware of their son, who is wandering through New York trying to find them. They part ways and battle work and family life to find each other. After five seconds of talking to him, they make out and end up having sex (nothing shown until the morning) on a random roof. However, I wasn't sure what the movie was trying to get across? The overarching story is that a young woman met a guy somewhat like her on a roof. Sure it was a good family movie, and covered the beautiful journey of a young boy searching for where he belonged. And nearly stealing the film is young Jamia Simone Nash with her sassy line readings and astonishing voice.This movie bothered me a little bit. John Mathieson’s inspired cinematography turn contemporary Manhattan into a Dickensian world where an orphan might triumph and people feel the sound of healing music. From gospel and rock to classical and symphonic, music carries its characters and story ever forward to their destiny. It will be played in Central Park, where Lyla is a featured cellist and Louis is nearby, reunited with his old band.Ĭlearly, the film does not work on any realistic level. When August wanders into a church, the pastor (Mykelti Williamson) is so impressed with the boy’s organ composition that he brings the youngster to the Juilliard School of Music. Its sounds resonate in his head: In the whoosh of subway trains, noise from cars, thumps of a basketball and the clatter, hum and buzz of everyday life, he feels music flow through him. His musical gifts explode when he comes to New York. He believes he can reach out to them through music, that they can “hear” each other. Louis, too, gives up music, opting for a business career in San Francisco.Ī kind social worker (Terrence Howard) urges Evan into family placement, but the boy never gives up hope of finding his parents. Shattered, she loses interest in playing and relocates to Chicago, where she teaches music. When the pregnant Lyla is hit by a car and gives birth prematurely, her father (William Sadler), mindful of her career, gives the infant up for adoption but tells his daughter that her baby died. The two spend the night only to be torn apart by circumstances. In flashback, a young Irish guitarist-singer, Louis (Rhys Meyers), encounters a shy, young cellist, Lyla (Russell), on a rooftop overlooking the square. It is in Washington Square 11 years ago where Evan was conceived. Evan (Highmore), whom he renames August Rush, is a child prodigy whose skills reward him with a prime spot in Washington Square. Instead of a gang of young thieves, the “Wizard” (Robin Williams, doing his best with a poorly written role) operates a team of young musicians who live in an abandoned theater and play for money on street corners. “August” adopts the structure of “Oliver Twist” whereby an orphan runs away to New York and falls in with a Fagin-like character.
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