Release Date:  September 16, 2005
Rating:  PG-13 (sexual content)
Genre:  Romantic Comedy
Run Time:  101 minutes
Director:  Mark Waters
Actors:  Reese Witherspoon, Mark Ruffalo, Donal Logue, Dina Waters, Ben Shenkman

Reese Witherspoon’s magnetic star-power in the new romantic comedy, “Just Like Heaven,” can’t overcome the movie’s fundamental, fatal flaw: a basic lack of chemistry between the film’s two lead performers. Although mildly entertaining – even uproariously funny in two scenes – the film takes far too long to generate the expected romantic sparks.

“Just Like Heaven” opens with great promise before stagnation sets in. Witherspoon plays Elizabeth Masterson, a doctor whose efforts to establish a social life outside of work are cut short by a car accident. Soon thereafter, Elizabeth surprises David Abbott (Mark Ruffalo) in his apartment, claiming it as her own while coming to grips with the reality that she’s a roaming spirit, no longer confined to a body.

It’s here that the movie runs aground, as the two characters try to establish Elizabeth’s earthly identity, and the whereabouts of her physical body. David, a heavy drinker, tries to dismiss Elizabeth’s appearances as alcohol-fueled hallucinations, but Elizabeth’s persistence and other-worldly powers convince David that he’s dealing with a force beyond his control, leading him to an occult bookstore, where he learns various techniques on how to expel Elizabeth from his dwelling.

These scenes are played for laughs, and although they’re successful in spots, they go over the line at other points (a parody of “The Exorcist” has a priest echo that film’s famous line, “The power of Christ compels you!” only to set up a punch line involving holy water). At one point, a desperate David, hoping to purge Elizabeth’s presence completely, commands her to “walk toward the light” and “rest in peace.”

But Elizabeth confides in David that “there is no light.” Turns out she’s not dead but soon might be, setting up a race against time to locate Elizabeth’s comatose body and preserve her life.

The film’s venture into social commentary brings with it surprisingly life-affirming results, as Elizabeth realizes she no longer holds to her earlier stated wishes about termination of life support. Surprisingly, the movie manages to grow lighter on its feet while addressing these weighty life-or-death issues, as David attempts to save Elizabeth from the consequences of her earlier beliefs. Along the way, a romance finally blooms, and we can’t help but root for the two main characters to find happiness with each other.