Alongside Alps, People Like Us marks two films this fortnight that are brimming with incestuous undertones. But while Giorgos Lanthimos’ dark, disturbing Greek drama is meant to feel deeply uncomfortable, Alex Kurtzman’s soap opera of a movie is billed as an uplifting drama. Because People Like Us love a bit of brother-sister sexual tension apparently? No, Kurtzman. That’s just people like you.
In this oddly-toned and dully plodding drama, Chris Pine stars as overconfident sales whizkid Sam who has been estranged from his record producing father for some time. When his dad dies, Sam finds that he has inherited $150,000. However, there’s a catch: the money is intended for Sam’s half-sister Frankie (Elizabeth Banks), whom he never knew existed. Instead of coming clean, Sam decides to stalk the feisty single mother, pretending to be a fellow AA attendee. After some mildly flirtatious banter, Sam ingratiates himself with Frankie’s precocious son. As the trio bond, Sam fails to reveal that they not only share a sense of humour, an emotional bond and a need for connection. But also, you know, some DNA.
The plot proceeds to follow the tedious, by-the-book formula usually favoured by Katherine Heigl rom-coms: a betrayal revealed, separation and a late, heart-warming gesture leading to reconciliation – though thankfully without the climactic kiss. It’s at once predictable and bizarre, as Sam’s implausible secrecy proves a maddening and creepy plot device.
In fairness, Banks brings a wonderful vulnerability to Frankie, her sarcasm and short skirts failing to distract from the pain in her eyes. Michelle Pfeiffer is magnificent as Sam’s grieving, conflicted mother, and deserves more exploration. Pine’s perfunctory performance and the inert story render the already overlong film turgid.
Contrived, emotionally empty and misguided, People Like Us fails to excite or engage. Now where’s my copy of Flowers In The Attic?