In 10 Words or Less
A man on a undertaking gets buggered in London
Reviewer’s Bias*
Loves: Alan Rickman, good indie films, comedies
Likes: Mike Binder, Janeane Garofalo
Dislikes: Logic holes
Hates:
The Movie
Mike Binder might be one of the most popular unknown filmmakers working today. The writer/director of respected films like Indian Summer and The Upside of Anger, popular TV series “The Mind of the Married Man” and the vilified “Blankman,” suffered the curse of the serious comic when he cast Adam Sandler in his biggest release to date, the post-9/11 film Reign Over Me, which got good reviews but tepid audience response. As a result, he remains a non-household name, but one who seems to work consistently, bringing life to each everyman character he gets his hands on.
Everyman is exactly what you’d call Matthew Barnes (possibly related to Micky “The Mind of the Married Man” Barnes and Marty The Sex Monster Barnes?), a work-a-day schlub who’s dragged his wife Linda (Janeane Garofalo) to London, where his job has transferred him, in the latest of work-related moves. Unfortunately for him, his British counterpart, John Gissing (Alan Rickman), has failed to handle preparations for Matthew’s arrival, which results in a number of delays, hassles and general fiascos. As a result, his first impression with the new bosses, including an uptight, under-pressure woman, a proper exec and a snooty Frenchman, don’t go anywhere near as planned.
Gissing’s actions are exactly as planned though, and they send Matthew into a tailspin that is straight out of the traditional comedy playbook. The way Binder and Garofalo play through the hi-jinks, including over-the-top set pieces such as a post-coitus freak-out, a post-attempted-coitus freak-out, and the lengthy, climactic juggling act, is as broad as anything this side of Steve Martin, and results in some legitimate laughs that may leave you feeling a bit guilty because of what led to them. One scene that offers up a European take on “Who’s on First?” is so predictable and simple that it would be laughed out of a college screenwriting class, but thanks to the acting, it actually works.
Binder and Garofalo are solid as the Barneses, but they are overwhelmed by Rickman, who takes the limited screentime he’s given and creates a memorable character that’s equally repugnant and pitiful. Taking the evil of Hans Gruber and blending it with the world weary angel Metatron, Rickman makes John Gissing more than just a desperate suit-wearing villain. Instead, he’s a desperate suit-wearing villain who you might want to see win in the end, despite your better judgements. Maybe it’s just that Matthew is a bit too nebbish to actually root for, but you’ll be happy to see Gissing when he raises his conniving head.
It’s also worth mentioning that the score, by The Contender composer Larry Groupe, is about as big a part of this film as any other element, bringing a fun atmosphere that’s reminiscent of the emotional orchestral music that marked Blake Edwards and Arthur Hiller’s best work. There are scenes in this film where you end up more interested in the music than the action, which is no slam on the film in any way.
Though the film is generally enjoyable, and moves briskly through its 90-minute run-time, there are some serious holes in the plot that pulled me out of the film and distracted me. The main issue was why Matthew would put up with even a fraction of the trouble he faces. Yes, the film attempts to explain it, but the reasons never worked for me, and made it harder to accept the madness as being remotely real, especially when the film became more and more cartoony. By the end, you just have to give in and accept the goof factor and just let the laughter come. You’ll feel better for it.
