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Brian Gilcrest discusses longing and looking up to the future as a boy. He is then seen in military uniform, but then relates how the billionaires took over in 2008, so he left the military and took a job as a contractor, working for Carson Welch. Brian messed up in Kabul, but is now going back to Hawaii, a second chance. A celebrated military contractor returns to the site of his greatest career triumphs - the US Space program in Honolulu, Hawaii - and reconnects with a long-ago love while unexpectedly falling for the hard-charging Air Force watchdog assigned to him.
It's hard to know what anybody involved in this misbegotten mash-up was thinking, other than 'Hey! The shooting location's in Hawaii!' (The state looks beautiful here, but that's a bit like saying Sharon Stone was attractive in Basic Instinct 2.)
Half the time while watching Aloha, I had no clue what was going on. Not so much the plot -- although I was admittedly a bit muddled on that, too -- but why anyone acted the way they did.
Even if this were well made in a technical sense, it would still be a weird heap of patriotism, astronomy, and Hawaiian folklore, piled atop a pat and predictable love story.
A curious twist on the body swap comedy, with its talented creator and stars ostensibly pulling a switcheroo with a group of exponentially less talented people.
Filmmaker Cameron Crowe can't catch a break with Aloha, a Hawaii-set romcom that is a handful of stories struggling for a unifying tone, but is nowhere near as toxic as its advance buzz.
It seems less that Crowe's gifts have escaped him than that they've become disproportionate with his excesses, and we're less forgiving of those trespasses.