Movie Review: Your Place or Mine

Your Place or Mine (2023) 

Directed by Aline Brosh McKenna 

Written by Aline Brosh McKenna 

Starring Reese Witherspoon, Ashton Kutcher, Jesse Williams, Zoe Chao, Tig Notaro

Release Date February 10th, 2023 

Published February 13th, 2023 

The slapdash, clumsy and derivative new romantic comedy, Your Place or Mine still manages to have moments of grace and genuine romance. It's a shame the movie is so dedicated to playing the rom-com greatest hits that it cannot fully take advantage of the few good moments. No, sadly, the latest effort from the generally quite good writer-director Aline Brosh McKenna is by far her most mundane, by the numbers effort. Despite a pair leads with decent chemistry, Reese Witherspoon and Ashton Kutcher, Your Place or Mine falls well short of rom-com greatness. 

In Your Place or Mine Reese Witherspoon is Debbie and Ashton Kutcher is Peter. We meet them on the first night they hooked up, 20 years ago, following a game of poker. Shortly after that, Peter told Debbie that they should not be together as he's bad at being in relationships. Somehow, they remained not just friends but best friends and went on with their lives. Each gave up their dreams, her to be a book editor and him to be an author, and found vague levels of success in other endeavors. She's an accountant for her son's school and he's a movie conception of a consultant, the nebulously defined but wealthy kind of fallback character job that hack screenwriters assign so as not to have to spend time on backstory. 

A clumsy opening series of scenes sets in stone the very obvious arc of this already quite obvious romance. Debbie needs to loosen up and have some fun, Peter needs to learn how to be responsible to others and become selfless. Commence the deus ex machina. The brilliant Rachel Bloom drops in from a completely different movie and sets the plot in motion by not being able to watch Debbie's son, Jack (Wesley Kimmel), while Debbie was set to go to New York to see Peter and take a course to advance her accounting career. 

Knowing that his friend is counting on this class in New York, Peter decides to get on a plane and go to L.A and watch Jack while Debbie stays at his place in New York. While in New York, Debbie befriends the best character in Your Place or Mine, Peter's ex-hook up, Minka, played by Zoe Chao. To say that Chao steal the movie is an understatement. She's the character with the most personality, the most organic growth, and all of the best jokes in the movie. She befriends Debbie as a sort of mini-deus ex machina as it is her job within her subplot to get Debbie to find Peter's book and give it to a sexy book editor, played by Jesse Williams. 

Williams is obvious roadblock between Debbie and Peter's happily ever after. He offers her an alternative romance with someone she is more obviously compatible with. But, we already know where this is headed and the movie doesn't give Williams much to play to turn his role into anything more than a speed bump on the way to the obvious conclusion. It's incredibly disappointing to watch these terrifically talented people acting out a script that is the bare minimum of effort and confounding why someone as talented as Aline Brosh McKenna fell back on so much lazy screenwriting. 

Find my full length review at Geeks.Media 

Movie Review I Don't Know How She Does It

I Don't Know How She Does It (2011) 

Directed by Douglas McGrath

Written by Aline Brosh McKenna 

Starring Sarah Jessica Parker, Pierce Brosnan, Greg Kinnear, Christina Hendricks, Kelsey Grammer, Olivia Munn, Seth Meyers 

Release Date September 16th, 2011 

Published September 17th, 2011

I Don’t Know How She Does It begins with the oddity of characters speaking directly to the camera about the main character, Kate, played by Sarah Jessica Parker. It’s done in a documentary style but the thing is, there is no documentary aspect to the movie. Essentially, this is a hoary device that the movie can rely on without having to explain.

I Don’t Know How She Does It is marked by this kind of sloppiness. This very typical romantic comedy flubs details repeatedly in order to reach the moments that it wants to reach; never mind the fact that the audience is not reaching those moments with the movie, but in spite of it.

Sarah Jessica Parker is Kate Reddy; super-mom. Kate works a big job as an investment banker yet still finds time for bake sales and birthday parties. Even though her job requires her to travel a lot, Kate’s kids and her husband Richard never want for her time and attention.

That changed a few months late last year–apparently the story is told in flashback though again, the structure is so sloppy–when Kate took on the biggest project of her career. Kate has landed a major meeting with Jack (Pierce Brosnan) from the New York office. When she nails the meeting, Kate finds herself busier than ever.

Screenwriter Aline Brosh McKenna has long been fascinated by the ways in which women balance career and private life. Her script for The Devil Wears Prada turns on the question of work ambition versus life away from work. In 27 Dresses, Katherine Heigl’s character created a personal life at work only to find it was a fantasy.

In Morning Glory, Rachel McAdams’ TV producer was ready to dump her man because he refused to accept her dedication to her job. When I read that McKenna had written I Don’t Know How She Does It, I assumed this would be her thesis statement on the topic of balance between work and home.

Instead, I Don’t Know How She Does It is a sub-sitcom level comedy about a mess of a woman, her messy life and the boring complications foisted upon her by the conventions of a boring movie. The ideas that McKenna enjoys examining are there but they exist not as ideas worth discussing but as boring romantic comedy roadblocks.

The only interesting performance in I Don’t Know How She Does It, among a cast that includes Greg Kinnear, Busy Phillipps, Christina Hendricks, Seth Meyers, Olivia Munn and Kelsey Grammer, is from Pierce Brosnan. The former 007 is completely charming in I Don’t Know How She Does It and for a time, he elevates the plot from the cliched depths of lame romantic comedy.

I can’t say that I Don’t Know How She Does It is disappointing, as the trailers did little to instill confidence. However, I did hope that screenwriter Aline Brosh McKenna might sneak a few ideas into the film. Sadly, she failed and what we get is a mediocre sitcom pilot complete with storylines that could continue for endless banal weeks on any network or maybe Lifetime.

Movie Review: 27 Dresses

27 Dresses (2008) 

Directed by Anne Fletcher

Written by Aline Brosh McKenna 

Starring Katherine Heigl, James Marsden, Malin Akerman, Edward Burns, Judy Greer 

Release Date January 18th, 2008

Published January 17th, 2008

I'm not supposed to like 27 Dresses. It is what has come to be called a 'chick flick'. A derogatory term for a movie made for women only. This limiting mentality has at once a strong shorthand but also speaks to the emotional immaturity of men across this country. Anything a little too feminine and men get uncomfortable. Weddings, babies, women in general, make men uncomfortable and it isn't manly to be uncomfortable.

I have never really understood this mentality even as I am able to diagnose it. I've never had a problem being in touch with my emotions or expressing how I feel to others. Maybe that is why I can so easily enjoy movies like Legally Blonde, Just Like Heaven, My Best Friend's Wedding or Something New, some of my all time favorite movies written off by men as 'chick flicks'.

27 Dresses is indeed another movie written off as a chick flick. It's all, in touch with it's emotions, thoughtful, sweet, smart and sexy. All things that make most men uncomfortable, no babies though.

Jane (Katherine Heigl) has been nursing a mad crush on her boss George (Ed Burns) since she began working for his clothing company two years ago. Now, with a little liquid courageshe is ready to confess her feelings when her little sister Tess (Malin Akerman) walks right up to George and the two fall madly in love. Naturally, Kate is called upon to plan their eventual wedding. You see, Kate is something of an expert. She has presided as bridesmaid and unofficial wedding coordinator at 27 different weddings. In fact, as we meet her, she is attending two weddings in one night, an event witnessed by Kevin (James Marsden), the wedding reporter for the New York Journal.

Smelling a story in this unusual woman, Kevin pursues her and in the process falls for her. Kate is not so quick to even like Kevin let alone fall for him. Where she happens to love weddings, he is cynical and cites how often the ritual fails to translate to lifetime love. Of course, if you think the movie has anything other than true love on it's mind for Kate and Kevin, you clearly don't watch many movies.

To call 27 Dresses predictable is like saying the sun is predictable. This is a romantic comedy folks, not  Scenes From A Marriage. 27 Dresses is about oddball romantic roadblocks between two characters destined to live happily ever after. And, while I have in the past dinged other similar films for their overfamiliar clichés and simpleminded routines, I maintain that those films weren't as interesting in their predictability as 27 Dresses.

27 Dresses offer characters that are easy to accept and enjoy, Director Anne Fletcher may not be skilled at avoiding the typical, but she knows how to cast actresses and actors we want watch in a story that doesn't put one to sleep.

The main reason 27 Dresses is better than other similar films is star Katherine Heigl. This lovely talented young actress has had one exceptional year coming off of the success of Knocked Up last summer and her Emmy win for TV's Grey's Anatomy. She gets 2008 off to a good start with a performance of wondrous romantic angst and good hearted cheer. Her Jane is not some pathetic, pining woman-child but a serious minded woman with good reasons why she has fallen for who she's fallen for, even if she lacks the spine to declare her feelings

Jane is the rare selfless character in a sea of selfish, overbearing characters not just in 27 Dresses but in most modern movies. Just a quick blush of the movies I've seen this weekend from the bank robbers of Mad Money to the monster bait of Cloverfield, we are adrift in selfish, self involved characters whose only concern is for themselves and their well being.

Jane may be a little spineless but it comes from a place of honesty and caring. Though Marsden's Kevin thinks she gets walked on by her friends, the filmmakers portrayal makes it seem more likely that she just loves weddings and wants to give these women the dream that she holds for herself some day. That is nobility if you ask me and a rare characteristic of the modern movie character.

Late in the film, when Jane finally does something truly selfish it is not celebrated as her finally standing up for herself but rather as an out of character, meanspirited moment that she must and does make up for. Again, how rare, a character punished for being selfish. On this message alone I could celebrate 27 Dresses. That it is also charming, sweet and funny is icing on the giant three layer wedding cake.

Movie Review Morning Glory

Morning Glory (2010) 

Directed by Roger Mitchell 

Written by Aline Brosh McKenna 

Starring Rachel McAdams, Harrison Ford, Diane Keaton, Patrick Wilson, Jeff Goldblum 

Release Date November 10th, 2010 

Published November 9th, 2010

Can one woman cure the ills of a last place network morning show through the sheer force of her adorable-ness? One might also ask can an actress cure the ills of a troubled dramatic comedy through that same adorable-ness? The answer to both questions, based on the movie “Morning Glory,” is a shocking, yes.

Rachel McAdams is so vibrant, energetic and adorable that she wills this otherwise rickety dramatic comedy; the definition of that oh so vague, made up term ‘dramedy,’ into becoming a sweet, endearing romance of woman and her work oh and yeah there is this pretty guy in there too.

Rachel McAdams stars in “Morning Glory” as Becky, an adorable whirlwind of a TV news producer who, when we meet her, is on the verge of a promotion. Or so she thought. Turns out she was being fired due to budget cuts. As with all plucky movie heroines however this is merely a speed bump on the way to the job she needs.

After a comically fraught job search in which our peppy wannabe big city gal irritates the entire news infrastructure by reading her resume, she finally gets an interview. The job is with the 4th place network in America, IBS, as executive producer of the lowest rated morning show on network TV.

Her new boss, Jeff Goldblum, in all his Goldblum-y glory, has zero confidence that she can turn the show around but she can’t make it any worse. Or can she? On her first day Becky fires the co-anchor; a sadly under-used Ty Burrell from TV’s Modern Family, despite his irreconcilable contract and leaves the show minus its required male co-host.

Ahh, but our heroine has a plan; on the IBS payroll is a news legend that due to his multi-million dollar contract has to work or not get paid. Mike Pomeroy (Harrison Ford) was demoted from Nightly News Anchor because of his bad attitude and slight drinking problem. Nevertheless, he’s a big name with a long track record that would be a perfect opposite to bubbly co-host Colleen Peck (Diane Keaton).

Unfortunately for Becky even if he has to by contract, Mike Pomeroy doesn’t want to do morning news. He refuses cooking segments, entertainment interviews and basically anything that your average morning news shows do. Mike longs for the days of actual journalism but as Becky correctly points out, the battle between news and ‘info-tainment’ was fought long ago and Mike’s side lost.

Can the plucky upstart wear down the cantankerous superstar while rescuing the floundering show and corralling a new boyfriend, a fellow news producer played in perfect bland handsomeness by Patrick Wilson? Admittedly, the stakes aren’t all that high but star Rachel McAdams makes each feel like an urgent concern.

This is the Rachel McAdams many thought was coming when she starred as the lead ‘Mean Girl’ opposite Lindsey Lohan or when she battled Cillian Murphy in the innovative thriller “Red Eye.” McAdams has wandered in the woods the past few years starring in junk like “The Time Traveler’s Wife” and seeming to crush her potential with poor choices.

Apparently, McAdams was just waiting for writer Aline Brosh McKenna and Roger Mitchell to give her something she could really play. Play it she does in “Morning Glory” amping up the kind of adorable that would shame puppies and kitties and yet remaining sexy instead of merely cute and substantial rather than just perky. No matter how delightfully scattered Becky is, McAdams infuses her with bright ingenuity and can-do capability.

The rest of “Morning Glory” is riddled with trouble. Harrison Ford is the least likely network news star since Howard Beale and even more cantankerous. Sure, Ford projects a stately air but with his gritted teeth growl it’s hard to believe that even news junkies took to his Mike Pomeroy, no matter if he was on a battlefield in Kosovo or opposite the President.

Diane Keaton plays cute and clueless a la Kathie Lee Gifford quite well but don’t do not consider her character’s back story for too long as it reveals inconsistencies the story cannot explain. Patrick Wilson’s handsome love interest guy is less problematic; he’s merely under-written and called upon to make uncomfortable attitude turns simply because of plot requirements. But other than that, he’s fine.

“Morning Glory” is riddled with all sorts of minor potholes, including a rather arrogant attitude about morning news shows, but Rachel McAdams overcomes all of those troubles by making the movie all about how plucky, adorable, sexy and smart her character is. She is so winning that we can forgive all of the problems around her which are almost meta when you consider the troubles piled up around both character and actress.

Not kidding at all dear reader, Rachel McAdams deserves an Oscar nomination for “Morning Glory.” Any actress who only through the awesome appeal of her performance can turn around an entire movie at least deserves to be in the Best Actress conversation and McAdams does that in “Morning Glory.”

Movie Review The Devil Wears Prada

The Devil Wears Prada (2006) 

Directed by David Frankel 

Written by Aline Bros McKenna

Starring Anne Hathaway, Emily Blunt, Meryl Streep, Stanley Tucci, Adrien Grenier 

Release Date June 30th, 2006 

Published June 29th, 2006 

The Devil Wears Prada, adapted from the bestselling novel by Lauren Weisberger, wants desperately to be an urbane, witty combination of Sex In The City and the haute couture of a glossy Vogue magazine cover. More true to the film's nature however is a typical little fish, big pond story that combines elements of Cinderella and Mary Tyler Moore.

Anne Hathaway stars in Devil Wears Prada as Andy Sachs, a wide eyed midwestern girl in the big city of New York hoping for her big break in journalism. Landing a job at Runway magazine as the second assistant to the legendary Runway editor Miranda Priestley (Meryl Streep) is the kind of job that opens a lot of doors.

This, however. There are no typical assistants, assistant gigs. Priestley is a tyrannical slave driver with a withering gaze and a dismissive whispery voice that sets your teeth on edge, especially with her dismissive catch phrase "That's All" dropped randomly during any discussion.

At home Andy's life in the big city centers around the tiny apartment she shares with her boyfriend from back home Nate (Adrien Grenier, TV's Entourage). He is working his way to becoming a chef while watching Andy run ragged by her new job.

The thrust of the plot is seemingly predictable. Will the poor midwestern girl succumb to the glamor explosion of her new job at the expense of her midwestern values or will she be true to herself and her boyfriend. To the film's credit this very typical storyline does not play out completely as expected.

Director David Frankel and writer Aline Brosh McKenna cannot resist a few cliches along the way. Watch as the film trips along the edge of an old fashioned Hollywood values play as they position Andy's life choices. Andy can have the job and the glamor or the true love of her old boyfriend and all the pre-packaged old school benefits of marriage, kids and settled down 'bliss'.

For some reason Andy cannot have both. At 23 years old neither Andy's boyfriend nor her closest friends, played by Tracie Thomas and Doug Sommer, are unwilling to understand the sacrifices one must make in order to make it in a challenging field such as the one she has chosen.

The boyfriend and the friends bitch and moan about Andy changing into someone they don't know anymore. They even go as far as to condemn her when she accepts the chance to travel to Paris for a few weeks of work. I don't know about you but if a friend of mine were headed for Paris I would try and hide in their luggage rather than complain about it.

To reiterate, the film does not end with the old school values lesson. In fact the movie takes a wide left turn that Hays code era films never would have been allowed to take. Andy has a quickie relationship with a disingenuous newsman, played by Simon Baker, that is counter to her midwest values but that director Frankel does not play as corruption but rather as the choice of an independent minded woman.

Therein lies the problem with The Devil Wears Prada. The film is pushing two divergent messages at once. The old school idea that women are happier with relationships and kids than with a successful career and the idea that women can make independent choices that don't have to conform with old school values. The film wants it both ways, condemn Miranda for eschewing the classic homemaker idyll but celebrate Andy for being independent. The shifts in ideals never make sense.

The film in some fit of old school values rage wants Andy to choose the path of boyfriend and wedded bliss over career and glamor but then shows the career and glamor to be the more interesting and even correct choice, seemingly against the movie's own will.

Is Meryl Streep's Miranda Priestley an arrogant harridan deluded by her power? Yeah, but she also has great success and a serious belief in the integrity of what she does. Streep fights off any attempt to typically humanize Miranda choosing instead to have Miranda stay true to her driven hard nose self something the film then positions as her being unhappy.

Miranda however never really seems all that tortured by her life. She has a great life and while it may have cost her several husbands, she is a strong independent woman with little time for the trifling matters of the male ego. This is not something to lament, not in the post-feminism era. Miranda Priestley, despite her seeming loneliness, is a success story and for the film to try and portray it any other way is yet another nod to old school values.

The most important thing one needs to know about The Devil Wears Prada is that Meryl Streep reaffirms that she is an American treasure. Ms. Streep's performance is just spot on, perfect. Nailing Miranda's bitter aloof nature while never allowing her bitchiness to become a cliche. Streep gives Miranda fierce integrity even as the film tries to position her as an arch villain desperate in her loneliness and unhappiness. Ms. Streep will simply have none of it.

Watch Streep's final scene, played just with her face as she gives an approving Mona Lisa smile to the new independent Andy and then just as quickly returns to being typical Miranda snapping her driver to attention with a withering whisper. This is one of the most entertaining performances of the year and the second brilliant performance from Ms. Streep in a matter of weeks, she was exceptional in A Prairie Home Companion as well.

A film that desperately wants to be as hip and edgy as the haute couture it models fails because it lacks the originality of the clothes on its characters' back. The Devil Wears Prada is simply too conventional a fairy tale to be set in and around an industry, fashion, that while fatuous is often very original, forward thinking and ahead of its time. Mary Tyler Moore meets Cinderella as a plot is so mid-seventies.

On the other hand, Ms. Streep is so good I can give a partial recommendation to The Devil Wears Prada based on her performance alone. Just dim your expectations of the film and sit back and enjoy an American treasure at work.