Peter Hedges has become a, minor, master when it comes to conveying the inner workings of the most unusual American families. Various films he either wrote or directed, or both, including “What’s Eating Gilbert Grape,” “Pieces of April,” the more commercial “About a Boy” and most recently “Dan in Real Life” are all fine examinations of the flexible meaning of the term “family.” He shows that a family does not have to be a biological unit or group but can also be a support system of yours, invaders who waltz in and out of your life leaving you changed forever. It is about making a choice between your own flesh and blood and others who support and care for you, your surrogate family. In Dan in Real Life, Dan Burns tries to find just the right balance, which is easier said than done. As a well renowned advice columnist on the brink of syndication, who effortlessly dishes out advice for his readers, Dan cannot deal with his own emotions at all. That is the crux of the film’s story, but it is so much more.

Old-school wit, savvy and charm ooze out of this formulated yet heart-warming film. Disarming pleasantry aside, Dan in Real Life works, and to divulge into the inner mechanisms of the film would make that fact seem unbelievable. It is worth a try though.

Steve Carrell, who ditches the humiliation comedy he is used to, is Dan, the father of three very different girls, and together they attempt to cope with their mother’s death, which occurred four years ago, in between figuring out boys, underwear, and driving. Okay, well his daughters do the “discovering” in latter departments. He is cast opposite the ineffably mystical Juliette Binoche, a seemingly odd pairing, but one sets off the oddball quality of the film from the very start. Their onscreen chemistry is anything but predictable, unlike some, but far from the majority, of the film.

Dan and his, reluctant, daughters head off to their grandparent’s (John Mahoney and Dianne Weist) summer home, where the rest of the Burns family, including his brother Mitch (Dane Cook), assemble annually. Amongst a series of crossword puzzles, workout sessions and a cringe worthy talent show, Dan is encouraged to give his daughters some air and heads off to town. He strikes up a conversation with Marie (Binoche) when he drifts into a local bookshop and we can immediately tell he is attracted to her beguiling mannerisms, something he has not experienced since his wife died. Therefore, Dan rediscovers that the initial spark of random attraction, so all is well. For now.

When Dan returns from the bookstore, he tells everyone that he has found a potential romantic interest and his loner, but forgivably so, image is lifted for a while. Until Dan realises that Marie is, in fact, Mitch’s date for the weekend. Of course, Dan is stuck with Marie, whom he has fallen in a debilitating kind of love with, all weekend. Both deal with the situation in childish, and embarrassing, behaviour in the way they attempt to dodge the bullets of “what-if.”

As a true ensemble that sparkles with raw intelligence, every member of the cast, beyond doubt, make the most of a mediocre story. Not that the film is mediocre, it has a life and a beat to it that sets it apart from the trend of utilizing raunch before genuine emotion in recent comedies. In fact, emotions are bottled up in the film but are released at just the right moment.

Drifting between comedy and drama in a seemingly incidental way, the film has a sharp eye for modern romance and avoiding clichés. For the most part, it is successful. It is captivating, but never demanding, in a sort of modest way, and for that, and not that alone; it is more than time well spent.

Fatac Rating: ***½

Dan in Real Life. Directed by Peter Hedges. Written by Pierce Garnder & Peter Hedges. Music by Sondre Lerche. Starring: Steve Carell, Juliette Binoche, Dianne Wiest, John Mahoney, Dane Cook, Jessica Hecht, Amy Ryan and Emily Blunt. Running Time 95 minutes. Age Restriction: PG. Rating out of five stars.

Release is set for the 25th of April 2008.
Viewed at a private screening with an audience of film critics and ordinary moviegoers.