Starring: Patrick Dempsey, Michelle Monaghan, Kevin McKidd
Written by: Adam Sztykiel, Deborah Kaplan, Harry Elfont
Directed by: Paul Weiland
It seems that I was under the mistaken impression that “romantic comedy” meant there should be actual comedy in this movie. Someone should have alerted the writers to this rule of providing what they promise.
The McDreamy Loverboy who couldn’t buy love (but totally could) stars as the smarmy womanizer tom. I have never really gotten the appeal of Patrick Dempsey as a sexy guy, so for me his begin cast as the guy that every women loves to pant after never really worked for me. I buy him as a likable nerd (such as Ronald Miller in “Can’t Buy Me Love”) but as Dempsey has become an adult and put on some muscle weight, he seems to be cast only as a ladies man. It never works for me. Instead, he usually just comes off like a smug, womanizing jackass. I am sure there are 1,000 women out there who would disagree with my assessment and that is precisely why Dempsey was cast as Tom here. For me though, it just made the character of Tom more insufferable.
So basically the plot is that philanderer Tom meets the intelligent and brutally honest Hannah (Michelle Monaghan) in college. For the past ten years he has continued to run through a steam of women, going so far as to create a set of rules to prevent him from having an actual relationship with any of them. Meanwhile, Tom develops an emotionally intimate bond with Hannah who keeps him happy by calling him on his crap and keeping him company. Basically she acts in the capacity as a wife in many ways only there is no sex, no sharing of living space, and no need to keep any thing from one another.
So when Hannah is called away to Scotland on business for six weeks, the egotistical Tom realizes that without Hannah, he has no emotional connection to anyone. Tom is desperately lonely and it is in this wallowing and self pitying that Tom decides that this mean he loves Hannah and must confess this to her. Flowers in hand, Tom rushes to meet Hannah when she returns only to find her happy, in love, and engaged to a Scotsman (Kevin McKidd). Frustrated, Tom can only think of how to win Hannah back. Tom gives little thought to how happy Hannah is with someone who adores her, not to mention someone who would most likely be more committed to her than Tom could ever be capable of being. Just like the 1980’s, this movie is “all about me.” Selfish Tom wants what he wants, regardless of whether it is what is best for the woman that he supposedly loves.
The script is saddled with one unfunny joke or situation after another. From the first moment the movie is doomed when it opens on an extended flashback sequence that is not remotely funny. If a flashback can’t elicit a chuckle, what hope is there for the rest of the movie? Things just got uglier from there. The opening credits were made up of heart confetti and coupled with the “witty” banter, it felt like some writer was trying way too hard to appeal to women. Instead the movie felt like it was written by a man right off of the bat. Sometimes that can work but if the writer has no clue how to appeal to women (other than casting a handsome lead), then what kind of demographic are you after for your audience?
From the time that the credits finish, the movie just kind of freefalls into torture from there. The story is predictable and worse, because you know how the movie will end, it makes the movie all that more difficult to digest. Why are we rooting for Tom? Even before they start adding in reasons that he is better than Tom, he is actually better than Tom from the outset. By the time we get to the moment when it is revealed why Hannah doesn’t belong with Colin, the audience still does not see many reasons why Hannah belongs with Tom instead.
From start to finish, this was wasteful, unfunny, and most horrifying, it made me associate discomfort with the lush, beautiful shots of the Scottish highlands. It was like “Clockwork Orange” in the theatre. I feel nauseated at the thought of kilts and haggis right now. Then again, that may be the proper reaction for the latter item.
The point is, although there are passable romantic comedies with some redeemable parts, this is not one of them. Lifetime and WE would reject this movie as too insipid. Avoid this movie at all costs.
Written by: Adam Sztykiel, Deborah Kaplan, Harry Elfont
Directed by: Paul Weiland
It seems that I was under the mistaken impression that “romantic comedy” meant there should be actual comedy in this movie. Someone should have alerted the writers to this rule of providing what they promise.
The McDreamy Loverboy who couldn’t buy love (but totally could) stars as the smarmy womanizer tom. I have never really gotten the appeal of Patrick Dempsey as a sexy guy, so for me his begin cast as the guy that every women loves to pant after never really worked for me. I buy him as a likable nerd (such as Ronald Miller in “Can’t Buy Me Love”) but as Dempsey has become an adult and put on some muscle weight, he seems to be cast only as a ladies man. It never works for me. Instead, he usually just comes off like a smug, womanizing jackass. I am sure there are 1,000 women out there who would disagree with my assessment and that is precisely why Dempsey was cast as Tom here. For me though, it just made the character of Tom more insufferable.
So basically the plot is that philanderer Tom meets the intelligent and brutally honest Hannah (Michelle Monaghan) in college. For the past ten years he has continued to run through a steam of women, going so far as to create a set of rules to prevent him from having an actual relationship with any of them. Meanwhile, Tom develops an emotionally intimate bond with Hannah who keeps him happy by calling him on his crap and keeping him company. Basically she acts in the capacity as a wife in many ways only there is no sex, no sharing of living space, and no need to keep any thing from one another.
So when Hannah is called away to Scotland on business for six weeks, the egotistical Tom realizes that without Hannah, he has no emotional connection to anyone. Tom is desperately lonely and it is in this wallowing and self pitying that Tom decides that this mean he loves Hannah and must confess this to her. Flowers in hand, Tom rushes to meet Hannah when she returns only to find her happy, in love, and engaged to a Scotsman (Kevin McKidd). Frustrated, Tom can only think of how to win Hannah back. Tom gives little thought to how happy Hannah is with someone who adores her, not to mention someone who would most likely be more committed to her than Tom could ever be capable of being. Just like the 1980’s, this movie is “all about me.” Selfish Tom wants what he wants, regardless of whether it is what is best for the woman that he supposedly loves.
The script is saddled with one unfunny joke or situation after another. From the first moment the movie is doomed when it opens on an extended flashback sequence that is not remotely funny. If a flashback can’t elicit a chuckle, what hope is there for the rest of the movie? Things just got uglier from there. The opening credits were made up of heart confetti and coupled with the “witty” banter, it felt like some writer was trying way too hard to appeal to women. Instead the movie felt like it was written by a man right off of the bat. Sometimes that can work but if the writer has no clue how to appeal to women (other than casting a handsome lead), then what kind of demographic are you after for your audience?
From the time that the credits finish, the movie just kind of freefalls into torture from there. The story is predictable and worse, because you know how the movie will end, it makes the movie all that more difficult to digest. Why are we rooting for Tom? Even before they start adding in reasons that he is better than Tom, he is actually better than Tom from the outset. By the time we get to the moment when it is revealed why Hannah doesn’t belong with Colin, the audience still does not see many reasons why Hannah belongs with Tom instead.
From start to finish, this was wasteful, unfunny, and most horrifying, it made me associate discomfort with the lush, beautiful shots of the Scottish highlands. It was like “Clockwork Orange” in the theatre. I feel nauseated at the thought of kilts and haggis right now. Then again, that may be the proper reaction for the latter item.
The point is, although there are passable romantic comedies with some redeemable parts, this is not one of them. Lifetime and WE would reject this movie as too insipid. Avoid this movie at all costs.
This film was wretched.
Excellent review!!