Oct. 3, 2008 | Sometimes a film is so liberally brushed with an atmosphere of sweetness -- or at least with the design of sweetness -- that you want to front on its flaws. "Nick and Norah's Infinite Playlist" -- the aide-de-camp have a role from who made a pulchritudinous debut in 2003 with the coming-of-age represent -- has a lot current for it, mainly two appealing guide actors, Michael Cera and Kat Dennings. And although the moving picture does bridle a few gratuitous, forced gross-out gags, Sollett has calculatingly gone for a low-key vibe: The editing is leisurely as an alternative of stable and choppy, and many of the jokes cycle at us sideways a substitute of head-on. "Nick and Norah" is so almost-there that I can't aide fixating on the silent it might have been.
The flick itself seems to be locked in a kind of adolescence; it never very much blossoms into maturity, into a fully rounded whole. Cera stars as the Nick of the title, a New Jersey kid who's been sinistral lovelorn now that his explicit fireball of a girlfriend, Tris (Alexis Dziena), has cracked up with him. He's been plying her with mix-CDs (what we older folks, back in the day, occupied to bidding mix-tapes) of his favorite music, hoping she'll be partial to it too. He doesn't comprehend that she's been discarding the discs, and that they've been picked up by one of her friends, Norah (Kat Dennings).
Norah doesn't recognize who made the CDs, but she recognizes that whoever put them together is her being mate, in terms of lilting tastes, at least. When she at length meets Nick, performing with his orchestra in Manhattan -- he's the only ahead fellow of a Queercore group called the Jerk Offs -- she's not surely enchanted with him. But in codify to guard herself from an blundering situation, she does exhort him to be her boyfriend for five minutes -- five minutes that just might break into five hours, or beyond. Nick and Norah set off on an odyssey through nighttime New York, looking for the position of a shrouded completion by one of their favorite bands (a fanciful assort called Where's Fluffy). They come into conflict with numerous misadventures and misfires on the way, many of them involving Norah's patron Caroline (Ari Graynor, in a loose-jointed, engaging performance), a popsy who's gotten a youthful too excited for her own good.
There's also the episode that Nick and Norah -- in the face the deed that they portion a darling for music by the likes of Vampire Weekend, Band of Horses and We Are Scientists -- don't unhesitatingly get along. In fact, they no more than get along at all, and disconnected bickering gives the talkie a rambling, at a loose end quality.
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