I’ve read a lot of reviews for Hector & The Search For Happiness, and there’s a common, and fairly petty gripe that seems to be a theme throughout them, pissing me off no end. In the film, Simon Pegg plays a wealthy psychiatrist with a solid career and a beautiful wife (Rosamund Pike). Deep down though, he feels empty, unfulfilled and as if something is missing, and embarks on a spontaneous, unplanned global voyage to essentially search for the meaning of happiness, or at his own on the smaller scale. Now, a few critics have this whiny sentiment that because he’s well off, stable and lucky in life (I won’t even use the dreaded ‘P’ word), that it’s somehow offensive to see him search for more, or find himself unhappy. He ventures forth to places like Tokyo, L.A. and Africa in his travels and it seems to be some consensus that because he runs into people from third world areas who haven’t been dealt as lucky a hand as he has, materially speaking at least, that he has no right to complain or contest his position or mindset in life. Absolute butthurt. Everyone on this planet, be they billionaires, orphans, middle class mothers, movie stars or refugees, everyone is going through their own private set of problems and inner turmoil, and no one has the right to so blindly insist that some people’s problems, mental and/or material, matter more than others just because they have more money or resources than. The richest, most capable individuals could be going through hell on the inside, and they deserve to be acknowledged and sympathized with just as much as anyone else. Grow up. Now that my rant is over, on to the film, which is somewhat of an oddball and not easy to define, genre-wise. The posters and trailers make it out to be one of those quirky ‘find yourself’ comedy dramas where some plucky misfit goes on a journey, meets various archetypal characters and discovers a bunch about themselves, until the inevitable revelation that caps their story. Well, it is that, and it kind of isn’t as well. It’s certainly structured like that from beginning to end, but at times it gets quite dark, more than merely momentarily, and has far more of a brain in it’s head, both in terms of script and technical execution, than you would see coming. Pegg feels adrift in his profession, smothered by his doting but high maintenance wife and needs that leap into the unknown, which he takes. His first encounter is with a cynical hotshot businessman (Stellen Skarsgard), a man who lives in planes, airports, hotels and nightclubs, filling his time with life’s pleasures and the power of commerce, yet fully aware of what else he’s missing out on, perhaps the reason he is drawn to Pegg’s character. Over to Africa next, where he spends time with relief workers, to see if fulfillment can indeed be found in selflessly aiding others, but things turn intense when he’s captured by scary rebels and somewhat befriends a volatile arms dealer (nice to see Jean Reno, who’s been laying low these days) with a sad secret of his own. His trip takes him to the states, where he reconnects with an old flame (Toni Colette), no doubt allured by the sweet promise of nostalgia, a powerful force that doesn’t always yield happiness when adhered to. A loopy self help guru (Christopher Plummer), Skype sessions with Pike back in England and other encounters beset him, and in the end we wonder what the point of it all was, but this is his journey, not ours. I like that it doesn’t necessarily follow a blueprint that we’re used to, moves forward in fits and starts, meanders a bit, even veering into thriller territory briefly, his path truly an unforeseeable one that could lead anywhere based on chance, timing and the decisions he makes. That’s the mark of a good script, one that surprises and confounds in the best possible of ways, and shirks all labels applied to the final product, arriving on our screens as something just weird enough to be memorable and just this side of accessible in order to not be too much of an off-putting black sheep. Interesting stuff.