davidehrlich’s review published on Letterboxd :
With every subsequent movie, it becomes increasingly clear that Cameron Crowe is only interested in one thing: Finding the least hospitable environment for a romantic comedy, and forcing it to accommodate one. The Seattle grunge scene. The wild world of sports agents. A private zoo. Kentucky. The afterlife. (Though, in the spirit of full disclosure, it’s only fair to mention that Vanilla Sky makes a half-hearted attempt to subvert the genre’s most familiar tropes.) The guy is like a cross between Nora Ephron and Fitzcarraldo, obsessively determined to haul meet-cutes and manic pixie dream girls to unnatural places that have little hope of sustaining them. To that end, Aloha might represent Crowe’s final frontier, and not just because it literally begins in outer space.