A story about someone who loves another to discover that love, true love, is totally else where. This critical "second thoughts" problem can be healthy sometimes, helping us to uncover what we really are, and that just served movies best. It turned into an everlasting theme in the romantic comedy; assuring how the world is big romantic comedy we live. This time, the things feel differently. There are no Hollywood stuff; stars, fart jokes, etc. We have a nice cast, performance, and dialogue. So, what went wrong?
Since the 2000s, the flashback technique became a strange fashion to tell a story, a comic one in specific. You can see that clearly in American TV sitcoms like Grounded for Life (2001), and My Name Is Earl (2005). This movie uses it in a strange and so excessive way. One of the worst uses is telling the whole story as a flashback (since we saw the ending in the start); sure that ruined the whole movie, making it dead predictable.
The story till the accident of the wedding planner was so well, after that, things grew less importantly, the pace got slower, and the comedy became too poor. Furthermore, the supposedly funny characters, nearly a dozen, weren't so funny themselves. The movie didn't make any efforts to care about such people, hence whenever the event's vitality lessens, something may compensate. But no such luck.
(Michael Showalter) made a lovely character. His realistic touch to the kind of geek that he performed produced something original. It is a shame not to see him in "big" "Hollywood" "flicks", rather the mainstream cinema. (Michelle Williams) was angelic. For me, she was the center of attraction in any scene she was in. At first, I refused her wise lines, but afterwards, I caught on the fact that her character has much experience than the lead, since she takes risks more than him, living more than one job unlike him.
I felt (Woody Allen) underneath everything; with Brooklyn's streets, flats, bars, and bourgeoisie, then a sophisticated nerd for a lead, a handsome cool as a competitor, a singing great girl who the lead doesn't care about, and a doomed love. Thank God that at least we didn't have to hear (Woody)'s ancient jazz tracks, or follow his ever one-note self here. But on the contrary, this one missed the (Allen) pace and hilarity. And compared to other American romantic comedies, like (A Guy Thing - 2003) which's nearly has the same story, it missed the same points. Sorrowfully, with or without any comparison, (The Baxter) has these problems indeed.
This is a very simple movie. A bit of preciosity, with a bit of poorness, just tarnished big part of its simplicity's beauty, to be finally half good, half empty. Still nice though, having a pure taste of innocence, sweetness, and a multi-allergic intellectual as a romantic lead; to be a gregarious decent man, not a forever laughingstock misfit. Let alone a rare and hopeful viewpoint: "I don't believe in baxters"; as people who won't find love. Now, you have to love that apart.
Since the 2000s, the flashback technique became a strange fashion to tell a story, a comic one in specific. You can see that clearly in American TV sitcoms like Grounded for Life (2001), and My Name Is Earl (2005). This movie uses it in a strange and so excessive way. One of the worst uses is telling the whole story as a flashback (since we saw the ending in the start); sure that ruined the whole movie, making it dead predictable.
The story till the accident of the wedding planner was so well, after that, things grew less importantly, the pace got slower, and the comedy became too poor. Furthermore, the supposedly funny characters, nearly a dozen, weren't so funny themselves. The movie didn't make any efforts to care about such people, hence whenever the event's vitality lessens, something may compensate. But no such luck.
(Michael Showalter) made a lovely character. His realistic touch to the kind of geek that he performed produced something original. It is a shame not to see him in "big" "Hollywood" "flicks", rather the mainstream cinema. (Michelle Williams) was angelic. For me, she was the center of attraction in any scene she was in. At first, I refused her wise lines, but afterwards, I caught on the fact that her character has much experience than the lead, since she takes risks more than him, living more than one job unlike him.
I felt (Woody Allen) underneath everything; with Brooklyn's streets, flats, bars, and bourgeoisie, then a sophisticated nerd for a lead, a handsome cool as a competitor, a singing great girl who the lead doesn't care about, and a doomed love. Thank God that at least we didn't have to hear (Woody)'s ancient jazz tracks, or follow his ever one-note self here. But on the contrary, this one missed the (Allen) pace and hilarity. And compared to other American romantic comedies, like (A Guy Thing - 2003) which's nearly has the same story, it missed the same points. Sorrowfully, with or without any comparison, (The Baxter) has these problems indeed.
This is a very simple movie. A bit of preciosity, with a bit of poorness, just tarnished big part of its simplicity's beauty, to be finally half good, half empty. Still nice though, having a pure taste of innocence, sweetness, and a multi-allergic intellectual as a romantic lead; to be a gregarious decent man, not a forever laughingstock misfit. Let alone a rare and hopeful viewpoint: "I don't believe in baxters"; as people who won't find love. Now, you have to love that apart.