Retreating from life after a tragedy, a man questions the universe by writing to Love, Time and Death. Receiving unexpected answers, he begins to see how these things interlock and how even loss can reveal moments of meaning and beauty.
Many critics will complain about emotional manipulation, but I share Roger Ebert’s view: “Some people like to be emotionally manipulated. I do, when it’s done well.” I think “Beauty” does it well.
By the end of Collateral Beauty, you’d have to have a heart of stone for the film not to get to you a bit, but even if it does, you may still feel like you’ve been played.
If “Collateral” fails to move you — and it might, because I was untouched — it may have to do with the clumsy clockwork machinations of a script that has to make its entire unholy and unethical premise seem “logical” and understandable.
Collateral Beauty never manages to shake off its all-too-deliberate air or willingness to follow the easiest path. Its life lessons are packaged with cloying, overt mawkishness which aren’t quite the feel-good home run Frankel seems to expect.