![]() Allen) ditches him for an older jock.Īmusement level slides rapidly from here on, as glimpses of ghosts two and three showing Connor how shallow he is and how awful his future will be are intercut with mostly awful scenes of the wedding weekend falling apart, graced by the continual shrieking of the would-be bride (Lacey Chabert). Conducting the tour is Connor’s first g.f., the dizzy, frizzy-haired Allison (Emma Stone), who initiates the bashful kid after young Jenny (Christa B. The flashbacks to the teenage Connor (Logan Miller) being shown the ropes by Douglas’ roue are at least somewhat engaging, even if they could have been carried off with vastly more verbal sophistication and physical elan. Thus commences an abridged journey through Connor’s erotic education, a trip that spins on his past with the one woman he let get away, Jenny (Jennifer Garner), who happens to be part of the wedding party. While slurping booze and hitting on the one bridesmaid he hasn’t already shtupped, as well as the bride’s attractive divorced mother (Anne Archer), Connor encounters his long-deceased Uncle Wayne (Michael Douglas, channeling Robert Evans), the roguish Don Juan who raised Connor after his parents died and tutored him in the techniques of conquest and the advisability of emotional detachment.īut the old playboy’s phantom has not reappeared to reassure his protege, but rather to warn him that he’s about to be visited by the ghosts of girlfriends past, present and future, and that he’s not going to like what he sees. He’s not even polite enough to hide his disdain for the sake of his only kin, who lives in baronial splendor at a seaside mansion where most of the action unfolds. Then it’s off to Newport for the dreaded wedding of his younger brother, Paul (Breckin Meyer) - dreaded because the merest thought of marriage sends Connor into paroxysms of horror. The personality of Connor Mead (McConaughey), a cocky, insanely successful Gotham shutterbug, is defined at the outset when he blithely breaks up with three women simultaneously by video conference call just as he’s nailing his latest conquest. Both are medium-high-concept comedies that should have been immeasurably better worked out and written than they are, but get by due to their attractive casts and uncouth humor. ![]() ![]() Very much like their previous outing for New Line, the dismaying (and surprisingly commercial) “Four Christmases,” Jon Lucas and Scott Moore‘s latest script consists of a tour of sorts through the whys and wherefores of the leads’ emotional lives. ![]()
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