What is most obvious and sad about "Pay It Forward" is that it could be a masterpiece; It could be this year's "American Beauty;" It could be one of the most magical, evocative, beautiful films ever made. But it's got one problem: It's directed by one of the biggest hacks to be allowed behind a camera, Mimi Leder. This woman shouldn't be allowed to direct traffic out of a parking lot let alone a major motion picture. And certainly, she should not be allowed to sully such a fine group of actor's and such a poignant script as is at her disposal in this film. The powers-that-be at Paramount should do hard time to allow this injustice.

Let's face it, Leder is given THE principle cast of the decade with Kevin Spacey, Helen Hunt and Haley Joel Osment. Spacey is phenomenal in this role, as is his usual trademark. His Eugene Simonet is one of the most sad and beautiful creatures ever to grace the screen. Yes, it's obvious that the prosthetic scars on his facade represent much deeper, more troubling emotional scars. In the hands of 99% of the other actors on the planet, this character would be too obvious, too contrived. But in Spacey's control, Simonet becomes an ugly duckling transformed into a beautiful swan, right before our very eyes. This transformation is sparked by the flat-out Oscar caliber performance of Hunt. Fuck "As Good As It Gets;" Hunt nor anyone involved with that bilious film deserved the Oscars and accolades it received. If you want to see Hunt prove she is an Oscar-worthy actress, capable of tackling one of the most complex leading female roles to exist in a decade, see her in "Pay It Forward." As for Osment, he once again proves to us that he is the most remarkable young actor to grace the silver screen since Freddy Bartholemew. His Trevor here is troubled, complex, brilliant, and glowing with repressed love and energy. He shines as brightly as any of his adult counterparts.

Where Leder steps up and truly shows her idiocy is in the secondary casting and secondary plotlines. The pointless and lackluster moments with Jay Mohr, as a reporter tracking down a story related to the central plot here, is nothing short of buffoonery on parade. Mohr is hopelessly awful here. It will make you gag. Worse yet is a young black actor who throws around so much supposed "street" profanity that it becomes repulsive in it's obvious unintentional bigotry. Remember the stereotypical black gang member Robert Townsend is forced to play in "Hollywood Shuffle?" Multiply that one-hundred-fold and update it for the new millennium and you get the idea. I do not know who this young black "actor" is, but hopefully he will never get a chance to appear in a motion picture ever again. He and Mohr think they are doing some sort of comedy. It's repulsive. Speaking of repulsive, James Caviezel is also cast here and he can never overcome his fake, rotting teeth to get our attention when he is on the screen. We can't stand to look at him. His characterization is right out of an Afterschool Special anyway. Finally, the casting of Jon Bon Jovi and Angie Dickinson initially seems bold but upon watching the film, these two are never able to overcome their off-screen personas to deliver anything resembling a character. Dickinson comes close and it's good to see her in a juicy role, but we never, ever forget that it's Angie Dickinson up there. Still, look for her to get included when the Oscar Nom sweep comes for this film as a Best Supporting Actress candidate. She and Hunt are easily as deserving as Spacey and Osment.

The script for "Pay It Forward" by Leslie Dixon is based on a novel by Catherine Ryan Hyde. The film has all the trouble spots of an adaptation. It's obvious this novel is a masterpiece; the characters and plot points would work so much better on the page. There, a caring, intelligent writer could make all the contrivances seem realistic. The story, when woven by an artist, could be so beautiful. A great director would be able to do this as well. But Leder is hopelessly under-qualified. Every time, and I mean every time, a plot point begins to reach an apex, we can see it coming down the pike. The worst of these is the horrid and ridiculous ultimate climax of the film, which is so glaringly stupid that we can not believe it is being force feed to us. That's the difference, a good director would just do it; Leder foists it upon us like a good mother making us eat spinach. It only makes us gag.

Another HUGE, HUGE problem with the film is the music. Here's what Leder does: She uses Thomas Newman's score from "American Beauty" for most of the film. I kid you not. If this isn't Newman's exact score from last year's Kevin- Spacey-starring, Oscar-winning film, then it's some leftover music from the same session. I mean, it sounds exactly like the same score. Why? Why would Leder do this? Why would she want us to recall Spacey in that role when we are watching him in a much different role here? I bet Spacey shit his pants when he heard this. Does Leder think she needs to remind us that we are watching last year's Oscar winning actor in another powerhouse role? Or is she trying to cue the subconscious of the Academy members who will vote for nominees soon. She is a hack. A fucking hack. I hate her. God, why did this no-talent idiot get a chance to direct this wonderful, beautiful, genius script? Can you imagine the cinematic marvel this film would be if it were directed by a true talent like Peter Weir or Spielberg or Stephen Frears. Even Penny Marshall, Garry Marshall, Rob Reiner or Ron Howard, some of Hollywood's greatest commercial talents who also make exceptional emotional films, could have made this film perfectly. Remember "Big" and "Frankie and Johnny" and "The Sure Thing" and "Parenthood?" These guys may be commercial Hollywood directors, but they aren't careless hacks like Leder. Someone revoke her membership in the Director's Guild now! The saddest thing of all is, she will probably be nominated and win for Best Director. That's a fucking travesty.

"Pay It Forward" has a killer final sequence. If this doesn't soak your cheeks with tears and make your heart ache, you are a ghost of a human being. Here Leder gets it right. Finally. But it's too little too late. Don't hate yourself for allowing the film to touch you. It's perfectly all right. Just remember it is the beauty of the story and the skill of the actors involved who are allowing you this release. Not anyone behind the camera.

Note:

The final song is Jane Siberry's "Calling All Angels."

Filmed in Las Vegas and L.A.

The Nepotism Factor: Geraldine Leder does casting for the film. Someone with the last name of Osment has a cameo as a police officer.

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