'House' can't raise the roof

On opening scene that includes autoerotic asphyxiation doesn't really set the stage for a quality film. Especially when it leads to overstrung metaphors and a somewhat unbelievable plot. Yet, despite it's downfalls, "Life as a House" has its moments.\nGeorge (Kevin Kline) is a recently fired architect with lingering memories of his ex-wife and a son with drug problems who listens to Marilyn Manson and not much else. Then, George finds out he has only a few months to live. \nSick of his shack on the seashore handed down by his abusive father, George decides to follow his dreams and build a house he designed, forcing his son (Hayden Christensen -- cast as Anakin Skywalker in the upcoming "Star Wars: Episode II -- Attack of the Clones") to live with him for the summer and help him finish it. He then tries to force his son to love him, becoming closer with his ex-wife Robin (Kristen Scott Thomas), who is having problems with her new marriage, in the process. He hasn't been happy for a decade and sets out, with the help of some neighbors with weird problems of their own, to right his portion of the world. \nNeedless to say, the cancer and the lovey-dovey family resolutions had the more sensitive members of the audience crying by the end. But the sharp 180 degree turns in character personalities come across corny and underdeveloped. The over dramatic and obvious climaxes between every character in the movie also lend themselves to disbelief. Metaphors are thrown in your face at most every turn without the delicacy of subtlety, really the only property that makes metaphors work well in movies. I bet you can't guess what the title of the movie is a metaphor for. \n"Life as a House" is saved by its quirky tangents and amusing and random one-liners. All of the actors play their characters well, allowing the occasional humor to come through. Watch the future Anakin Skywalker -- his character may come on strong, but he delivers some wit himself.\nOverall, rent this one if you have a sense of humor -- not necessarily for the drama of it.