An old-school caper comedy, this goofy romp struggles to surmount its badly contrived screenplay. Fortunately writer-director Joel Hopkins also has gorgeous locations and a cast of pros who are unafraid to make complete idiots of themselves. They keep us chuckling even when things turn far too silly.
It starts with a hostile corporate takeover in Britain that costs Richard (Pierce Brosnan) and his ex-wife Kate (Emma Thompson) their income and pensions. Still feuding years after their marriage fell apart, they decide to team up, head to Paris and confront new owner Vincent (Laurent Lafitte) about their predicament, as well as the sudden poverty of all of Richard's employees. But Vincent cruelly dismisses them, noting that he liquidated Richard's company to help pay for his extravagant wedding to trophy wide Manon (Louise Bourgoin), who now sports a $10m diamond. So Richard and Kate impulsively decide to crash the marriage and steal the diamond with some help from their old pals Penelope and Jerry (Celia Imrie and Timothy Spall) and their computer-expert son Matt (Jack Wilkinson) back in Britain.
The idea is so preposterous that we just have to go with it, but Hopkins' script never bothers to fill in the gaping plot holes, merely charging into each corny set-piece with gusto. Thomson gets all the needed information about the wedding by joining in on the hen weekend. Spall has a series of dark-horse skills up his sleeve. Wilkinson seems able to do all manner of technical wizardry except the one thing that forces our four heroes to scuba-dive across the bay and scale a cliff, James Bond-style.
Continue reading: The Love Punch Review
After she catches her husband cheating, 40-year-old Sandy (Zeta-Jones) takes her two kids (Gould and Cherry) and moves into Manhattan. She finds an entry-level job and a flat above a coffee shop, where recently divorced 25-year-old barista Aram (Bartha) is happy to watch the kids. Meanwhile, Sandy's pal Daphne (Grant) urges her to get back out on the dating scene, but after a few disastrous nights the babysitter starts to look like a possibility.
But can they overcome their age difference and recover from their bad past relationships?
Continue reading: The Rebound Review
Cal (Crudup) is a Manhattan architect with a wife and 3-year old son who, for a largely unexplained reason, is discontent. His interior landscape is entirely his own, as he revels in the brooding inner drive that propels him to abandon his family and set out on the road. To help convey the mental anguish he's experiencing, the film employs hallucinatory images, flashbacks, time phase cuts, and other borrowings from films like the successful Memento, though without the consistency or effectiveness of that fine work.
Continue reading: World Traveler Review
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