Films exploring the significance of existence often struggle to reconcile with the act of living, particularly when they heavily rely on emotional manipulation. The Life of Chuck, a sci-fi film based on a novella, is an ambitious project that garnered attention, including the People’s Choice Award at the Toronto International Film Festival. Its appeal lies in certain key moments and strong performances. However, those unmoved by its sentimental approach may find themselves in good company. From its artificial soundstage setting to the familiar narration (by Nick Offerman), The Life of Chuck strives to evoke strong emotional responses, perhaps to an excessive degree.
The narrative structure is either clever or affected, unfolding in reverse chronological order, starting with the third act and concluding with the first. The film begins with Marty, a schoolteacher played by , whose lesson on Walt Whitman’s “Song of Myself,” specifically the line “I contain multitudes,” is interrupted. A student discovers news on her phone that a portion of California has collapsed into the ocean. Subsequently, the internet ceases to function, signaling a potential apocalypse. Marty notices a peculiar billboard featuring a smiling man in a suit, accompanied by the text “charles krantz, 39 great years!, and thanks chuck!” The missing comma adds to the enigma. Marty is unfamiliar with Chuck, as is everyone he asks. However, this billboard and other references to Chuck might hold the key to the impending doom.
The second act reveals Chuck to be a likable accountant, portrayed by . The third act, which is also the first and final one, delves into Chuck’s past, detailing his upbringing as an orphan raised by his grandparents, Albie, a stern but kind bookkeeper played by Mark Hamill, and Sarah, a practical and cheerful homemaker played by Mia Sara. Sarah enjoys dancing and teaches young Chuck, portrayed by Benjamin Pajak, her signature moves. He shows promise but is somewhat inhibited. He also encounters Whitman’s poem, which shapes his destiny and that of the world.
As The Life of Chuck is adapted from a Stephen King story, the supernatural undertones are expected. However, Flanagan, known for subtle horror films like Hush and Oculus and series like Midnight Mass and The Haunting of Hill House, overly emphasizes the emotional scenes. The musical score swells during significant emotional reveals, and characters deliver weighty speeches on the beauty of math. While The Life of Chuck explores the joys and sorrows of life in a sentimental manner, Hiddleston and Ejiofor partially mitigate the sentimentality. Ejiofor delivers Carl Sagan’s Cosmic Calendar with captivating authority. Hiddleston’s dance sequence in the second act elevates the film. As a street drummer (Taylor Gordon, also known as the Pocket Queen) plays, Hiddleston’s Chuck performs a spontaneous routine, momentarily capturing the meaning of life. He embodies the spirit of Gene Kelly in an accountant’s suit, and when he moves, The Life of Chuck becomes genuinely transcendent.