Reel Review Roundup

Writer/director John Duigan has managed to draw home grown (Nicole Kidman, Ben Mendolsohn, Noah Taylor) and international talent (Charlize Theron, Penelope Cruz, Sam Rockwell) talent to his projects throughout his career that has spanned almost 40 years and included well known titles such as The Year My Voice Broke, Sirens and Flirting. During Reel Review Roundup’s morning chat with Duigan about his latest film Careless Love, about an intelligent university student driven to prostitution, he explained why he chose local talent over famous Hollywood names.

Reel Review Roundup: I understand the film had its premier last week. Were you able to attend and how did it go?

John Duigan: It was a great night. The premiere was held at the Randwick Ritz cinema which is the local cinema near where I’m living at the moment in Coogee. There was a big turn up with almost a full house. There were some old friends and most of the key cast. It was a good night.

RRR: Do you enjoy that part of film making – the promotion side?

JD: The promotion of a film can be exhausting and you can be keyed up about how the film will be received. I have been doing this a long time but each time a film goes out you realise that people will either love you or loathe you, so there is a certain amount of nervous tension. We have had some Q and A’s and I had Nammi Li with me so we have supported each other and the film has been warmly received, so it has been a positive experience.

RRR: How did the story for Careless Love come about?

JD: It originated a few years ago during the global financial crisis. I read an article about the pressure on uni students with the fees increasing in most countries and the cost for students for board and lodging, a number were choosing to work in the sex industry to pay their way. A girl I knew at uni did it for two years. She was from rural Victoria. At first I thought it would be an interesting background for a novel but I decided it would be a better background for a film to explore a number of related issues such as how people seek to compartmentalise aspects of their lives.

RRR: How did you research for the film? Did you track down that former fellow student of yours?

JD: No. I hadn’t been in contact with her for many years. I spoke to a couple of uni students from Cambridge and one uni here who had turned to that industry, and read books about it. I thought the mobile escorts would be a good background for the story because most films deal with the extremes of the industry. On the one hand, they explore the issue of sex slavery and sex trafficking or it is glamourised like in Sleeping Beauty, another Australian film. I wanted the experiences in my film to fall in between those extremes. I didn’t want the main character to be a victim. Through her ingenuity, she is able to avoid most uncomfortable situations.

RRR: You mentioned Careless Love falls between the extremes. We have seen the rom com version with Pretty Woman and then there has been sequences in Requiem for a Dream which are very confronting. Why did you make the conscious decision to have it fall somewhere between the two?

JD: I wanted to show the camaraderie between the three characters in the car. I had an image in my mind of them in a capsule traveling from job to job, which can sometimes be confronting but they also support each other and joke around. It is not always doom and gloom. I think like with most jobs, there are moments of levity.

RRR: Some Australian films recruit American actors for many reasons, such as to secure overseas release. Careless Love has an American character played by an Australian actor. Was there pressure to cast an American actor? You have worked with several famous actors over the years, I would imagine you would have fairly easy access to them.

JD: I could have cast an American actor in that role and maybe that would have been a ticket to international sales overseas, but it would also have made the budget bigger and harder to muster. There is such a good talent pool to choose from here and I thought Peter O’Brien was convincing in that role. I was familiar with his work, he has done many roles in America. In this film he does a Baltimore accent, which is tricky because it has shades of the northern accent but also some southern in it.

RRR: Did Peter O’Brien work on the accent with anyone?

JD: He worked with a dialect coach. I was thrilled with his performance and the rest of the cast. There was some new talent here such as Nammi, Andrew and Hugo Johnstone-Burt who plays that character who is a little unpleasant. Numerous Australian actors get cast in US roles so I wanted to use local actors for this film.

RRR: What are you working on now?

JD: I have got a comedy, called Ego, set in London. I am going back to London in a few days to work on that with a couple of English producers. We are hoping to get it going at the end of this year or early next year so I will be over there for a while.

RRR: Is there any pressure to make another in the series after The Year My Voice Brok and Flirting? Sequels are big at the moment.

JD: I am often asked that question and there are loose plans for another film featuring the Danny Embling character. There is a skeleton of a script but I am just waiting for Noah Taylor to reach middle age so he can play the role again. I am in touch with Noah, we are good friends.

Careless Love released at Cinema Paradiso (Perth) May 31.

What To Expect When You’re Expecting (M)

Directed by: Kirk Jones

Starring: Cameron Diaz, Jennifer Lopez, Elizabeth Banks, Anna Kendrick

Three stars

Review by: Julian Wright

In a film where an actress emerges from swimming laps with her face still made up and hair looking like something out of a shampoo commercial and a pregnant character that claims to have lost bowel control and sporting back acne but appears to have stepped off the pages of a fashion magazine, it is clear the people behind What To Expect When You’re Expecting were not going for documentary-like realism. In fact, very few events and conversations in this film that chronicles the impending parenthood of five couples comes close to reality.

Sure, some women glow and take the extra weight of another human growing inside them in their stride. But some of them also like to spread out on the couch in a tracksuit and not have to worry about running a brush through their hair. The latter are not represented here. But if you go into this airbrushed look at what some women endure while they are pregnant not expecting realism, there is a chance you will get a few giggles out of it.

Reality TV show contestants Jules (Cameron Diaz) and Evan (Matthew Morrison) find they are on the same page in their short relationship until it comes to making decisions about their baby, Wendy (Elizabeth Banks) suffers severe mood swings to the dismay of her supportive husband Gary (Ben Falcone) who is struggling to come to terms with the fact his estranged father Ramsey’s (Dennis Quaid) 20-something wife Skyler (Brooklyn Decker) is due to give birth to twins around the same time as Wendy.

Meanwhile, rival food vendors Rosie (Anna Kendrick) and Marco (Chace Crawford) try to deal with their pregnancy, which was the result of a one night stand. And Holly (Jennifer Lopez) and Alex (Rodrigo Santoro) go through the complicated and painful adoption process while coping with new-found financial issues.

There is some no brainer fun to be had with this very broad look at pregnancy and how different women experience an assortment of changes and anxieties.  The film flits from farcical moments to sitcom style one-liners with ease but without much to its core, there is little to hold on to. For the most part this is pregnancy through rose-tinted glasses and any potentially devastating effects are quickly resolved and swept under the rug.

What keeps this watchable is the cast, with Lopez appropriately sweet and Rebel Wilson basically reprising her Bridesmaids role and disguising it with a southern accent but she still manages to register some laughs. But Banks runs away with the film with some of her best work with her hormone driven crazy behaviour. Her scenes highlight a film that is dotted with drawn out and unfunny ones featuring Chris Rock who leads a support group of new Dads spouting what the scriptwriters think is wisdom. But it’s not.

The Dictator (MA)

Directed by: Larry Charles

Starring: Sacha Baron Cohen, Anna Faris, Ben Kingsley

Two and a half stars

Review by: Julian Wright

Much will be made of the gross out hijinks of Sacha Baron Cohen’s latest character Admiral General Aladeen. Exiting screenings, audience members are sure to discuss the part that churned their stomach the most, or the gag that pushed the envelope the farthest. Cohen has been getting these reactions since his Ali G days and has been consistent with Borat and Bruno. After The Dictator, those conversations would probably last a bit longer.

But while audiences debate which joke was most outlandish or had them gasping in disbelief the loudest, what they probably wont discuss is how poorly this comedy is made, and how, structurally, it pales in comparison to Cohen and director Larry Charles’ mock documentary efforts. Resorting to a straight forward scripted and directed comedy this time around, the controversial duo have shelved the genre bending technique they used for Borat and Bruno. The effect is not only an occasionally funny barrage of low-brow gags, but this time they are less imaginatively delivered.

Execution-happy dictator Admiral General Aladeen (Sacha Baron Cohen) rules Wadiya, Africa, where the poor live in fear as he lives in luxury. During a trip to New York with his offsider Tamir (Ben Kingsley) to address the UN, Aladeen is kidnapped. He manages to escape, beardless, and discovers he has been replaced by a simpleton lookalike who is being forced to appear in front of the UN in his place and declare Wadiya a democratic country.

In his attempts to reverse the plan, Aladeen teams with organic food store owner and uber feminist Zoey (Anna Faris), who he meets at a protest rally against him. At first constantly mistaking the short-haired Zoey for a boy, Aladeen is eventually smitten with her and discovers a softer side to himself.

The gags that ensue are a mixture of hilarious, amusing, off-putting and downright offensive. But then again, we knew we would get that from Cohen. There are several laugh out loud moments that actually come from the least offensive jokes. Megan Fox poking fun at herself, Aladeen’s own rigged Olympics and a dig at people who wear crocs come off wittier than much of happens around them. The riffing between Aladeen and a former worker he thought he had executed Nadal (Jaosn Mantzoukas) offer some of the highlights, but also some of the low-lights as their discussions turn beyond inappropriate.

But whether you find this sort of thing funny or not, the most disappointing thing is the unenthusiastic way it is all presented. The film looks cheap and upon reflection, several scenes don’t have a point except to serve as another opportunity to freak out the audience with another un-PC gaga. Most conversations play out in sitcom style with the audience sitting through the set up, waiting for the punchline.

Borat and Bruno had the uncanny ability to make us laugh at a particular situation, then question ourselves as to why we are laughing or if, in fact, we should find it funny in the first place. All The Dictator does is present a gross out moment in a desperate attempt to get some laughs. Admittedly, a third mock documentary approach could have been stretching things, but after seeing this lazy attempt, I would have welcomed it with an open gag bag.

Dark Shadows (M)

Directed by: Tim Burton

Starring: Johnny Depp, Eva Green, Michelle Pfeiffer, Helena Bonham Carter

Two and a half stars

Review by Julian Wright

With Dark Shadows marking the eighth Tim Burton/Johnny Depp collaboration, one might think they are on to a good thing. Financially, yes. Creatively, not so much. Their recent movies – Charlie and the Chocolate Factory and Alice in Wonderland – were box office monsters but were more miss than hit when it came to storytelling. This partnership that has spanned 22 years (beginning with Edward Scissorhands in 1990) may have peaked with box office gold but it seems the quality is fizzling out.

Not only is Dark Shadows a far cry from Burton’s gleefully inventive Beetlejuice (1988), but it even pales compared to his recent re-imaginings, ranking alongside Planet of the Apes as one of his most uninspired efforts. Not even his familiar playful gothic style can elevate this gloomy outing.

In the 1770’s, rich playboy Barnabas Collins (Johnny Depp) inadvertently breaks the heart of witch Angelique Bouchard (Eva Green) who turns him into a vampire and sets the towns people onto him, who bury him. In a strange plot decision, he is uncovered in 1972 (why the 1970’s is not clear, but maybe one must look to the original source material, a TV series, for the answer) and must deal with social and technological changes.

Barnabas makes his way back to his run-down manor, which is inhabited by his kooky descendants including matriarch Elizabeth Collins Stoddart (Michelle Pfeiffer) who is struggling with the family fishing business slowly going under. Unusual sub-plots that seem like they belong in another film entirely include the new family governess Victoria Winters (Bella Heathcoat) who shares ghostly visions with Elizabeth’s nephew David (Gulliver McGrath) and his constantly hungover psychiatrist Dr. Julia Hoffman (Helena Bonham Carter) who feels cursed by her fading looks. A messy plot is the most confusing element of this jumbled Addams Family wannabe.

Depp is, as usual, reliably delightful and brings so much more to his character than anyone else on the screen. He is a real asset to this project. Without his presence this would feel even longer and slower than it already is. There are some nice quips, and the whole thing is consistently amusing, just never laugh out loud hilarious. Burton’s sense of humour has developed a cheeky sexual edge, but again, it just feels like another element that is out of place here. With so many different pieces stitched together to make the story, this feels more like Frankenstein than a vampire film.

The Five-Year Engagement (MA)

Director: Nicholas Stoller

Starring: Jason Segal, Emily Blunt, Chris Pratt, Alison Brie

Two stars

Review by: Julian Wright

After some great collaborative efforts such as Forgetting Sarah Marshall and The Muppets Movie, it is disheartening that all Jason Segal and Nicholas Stoller have to say in their latest film is “relationships are hard.” Hey guys, tell us something we don’t know.

Even more dismaying is that this long-winded look-see into a tumultuous five-year engagement is that it came under the watchful eyes of Judd Apatow, who lately, has had phenomenal success in relationship driven comedies with The 40-Year-Old Virgin, Knocked Up, Bridesmaids and even Pineapple Express. How did such a funny group of guys, who have given us insights into some quirky relationships in the past, come up with something so bland?

Here’s how: by not scratching the surface and yet still dragging a 90 minute film to an excruciating two hours with extended, unfunny scenes that usually make their debut in the deleted scenes section of the DVD for the hard-core fans.

The set up is interesting enough, and film begins well, as Tom (Jason Segal) proposes Violet (Emily Blunt) on their anniversary. The cute couple pick a date but when Violet’s dream job comes up, they have to move to Michigan and postpone the wedding. The move will be an adjustment in itself for the San Franciscans. But it also means that Tom has to leave his job as a chef at a ritzy restaurant when he is on the verge of a promotion.

No biggie at first because Tom is such a sweet and supportive guy. But when he has to take a job as a sandwich maker while Violet’s career takes off and they have to stay longer than first thought, problems start to arise. Covering some fascinating ground in dealing with how much one should sacrifice for their partner’s happiness, coupled with the added pressure of organising and postponing a wedding, The Five Year Engagement fails in its resistance to go deeper or anywhere unexpected.

The set-up is there but not much follow through. The point it makes is watered down by sheer length and superfluous scenes. Characters goes on long rants that are neither amusing or clever and the actors seem awkward delivering them. In fact, the whole film’s sense of comic timing is way off. Instead of wit, there is just a barrage of inappropriateness desperately thrown in for any laughs the film makers can get.

Segal and Blunt try their hardest but it is the off-beat relationship that blossoms between Violet’s sister Suzie (Alison Brie) and her one night stand Alex (Chris Pratt) that would have made for much more fascinating viewing. Now that’s and odd couple I would like to see go through a five-year engagement.

Hitman (MA)

Directed by: Xavier Gens

Starring: Timothy Olyphant, Dougray Scott, Olga Kurylenko

Two and a half stars

Review by Julian Wright

Since Jean-Claude Van Damme and Kylie Minogue disgraced the silver screen with Street Fighter (1994), it has been a regular occurrence for film studios to make film versions of popular video games. The last time this happened, the film turned out to be an overlong, overblown and incoherent mess. That movie was Silent Hill. It was popular with the teenage boys who stayed up late playing the game on their consoles, but everyone else was left scratching their heads.

Agent 47 (Timothy Olyphant) is a highly trained gun for hire. The Organisation scooped him up at a young age and trained him to be a lethal killing machine. He was bred from the world’s deadliest criminals, but raised by an exiled brotherhood of the church. He is the best and he has been hired to kill a Russian politician, Mikhail Belicoff (Ulrich Thomsen).

But things go awry when the man he has shot in the head in front of thousands of people appears on television the next day. Not only that, but his anonymous employer informs him that there was a witness, a prostitute named Nika (Olga Kurylenko). When Agent 47 goes to take the witness out, he discovers she was hired as bait to lure him out in the open to be assassinated.

Caught up in a political conspiracy, he must try to save Nika – who has now become a target – and find out who has set him up him and why. But what Agent 47 isn’t trained for and doesn’t expect is the stirring of his conscience and the unfamiliar emotions aroused in him by the Russian woman. Hot on his tail is the International Criminal Police Organisation (Interpol) and the Russian military who come to blows about who has jurisdiction in taking down the hitman.

Action films don’t have much depth to them and those based on video games seem to have even less. The dialogue and relationships in this film are strictly superficial, but what can you expect? In a time when every American summer is flooded with huge budget, large-scale, computer generated imagery films, there is a lot of competition and directors have to strive to create something special. Inexperienced director Xavier Gens has failed to inject this routine action with enough pizzazz to distinguish it from dozens of others of its kind.

About the only thing to note about Hitman is the action sequences which are impressive – particularly one fight scene on a stationary train. Timothy Olyphant is serviceable as the agent, a role intended for Vin Diesel. But comparisons to Jason Bourne keep arising and this character simply isn’t as interesting or as charming. The script could have fleshed out the conflict he feels between his attraction for this woman and his training to be emotionless, but it does not.

As appeared in Examiner Newspapers, 2007.

Act of Valor (MA)

Directed by: Mike McCoy, Scott Waugh

Starring: Roselyn Sanchez, Nestor Cerrano, Navy SEALs

One and a half stars

Review by: Julian Wright

This could be one of the most challenging film reviews to write: to pick out the flaws in a Hollywood film that was made as a tribute to the brave U.S. Navy SEALs (even starring real life soldiers) that, artistically, is one of this year’s biggest stinkers, but still remain respectful to those who fight for their country.

While no one is questioning their bravery and heroism – and surely the film makers only had the best intentions – this piece of celluloid does more of a disservice to the men and women that put their lives on the line. Hiring non-actors to struggle with clunky and hollow dialogue (that even pros like Meryl Streep would choke on) makes them look silly and putting them in flashy (albeit, at times thrilling) action sequences seems to go against the idea behind this movie.

What begins as an authentically staged rescue mission soon crumbles under cringe inducing dialogue, awkward performances and video game style action. When CIA Agent Lisa Morales (Roselyn Sanchez) is kidnapped and tortured for confidential information, a team of seven Navy SEALs, including best buddies Dave and Rorke, are sent into the jungle to retrieve her.

Kurt Johnstad’s script tries, in brief spurts, to humanise the two main officers by giving them a wife back home, one of which is pregnant, but attempts amount to zero. And by the time the squad are in the jungle and the action kicks into gear, you can hardly tell the soldiers apart, mainly because the characters are not fleshed out enough. Ultimately, among the chaos of bullets flying and grenades exploding, you don’t feel any emotional attachment to any of them or feel anything when some meet their demise.

The action scenes are, for the most part, competently made up until the directors put the camera in the soldiers’ point of view. This type of video game rip off shot – which is one of my pet hates in film – is not only an unimaginative way of putting us in amongst the action and in their shoes, but extremely lazy. How about putting us in their shoes by scripting three-dimensional characters we can relate to and hiring people who know how to emote for the camera. Is this a video game or a tribute to heroic soldiers? The line is definitely blurred.

No disrespect to those real life Navy SEALs who appeared in this film and for what they do when they are not appearing in misconceived Hollywood cash-ins like this, but if the film makers really wanted to show us the horrors of what they have to go through then perhaps a documentary approach would have been the way to go.

The Avengers (M)

Directed by: Joss Whedon

Starring: Robert Downey Jr, Chris Evans, Mark Ruffalo, Scarlett Johansson, Chris Hemsworth, Samuel L. Jackson, Jeremy Renner

Four and a half stars

Review by: Julian Wright

There have been five films in the last four years to get us to this point. Six superheroes have been introduced and established in two Iron Man films, The Incredible Hulk, Captain America and Thor. It has been one of the biggest, most expensive lead ups to one of the most anticipated blockbuster films we have seen. The geeks of the world have never before been so looked after.

The suits at Marvel Studios have probably relished the opportunity of getting comic book clutching fanboys all riled up for this very moment – when the Avengers finally assemble. What a relief to report that the wait and hype has been worth it, which is so rarely the case. This has not been treated as a throw away cash grab to dominate the box office for a couple of weeks simply for a nerdy core audience.

The Dark Knight has, in some circles, been praised and touted as the comic book/superhero adaptation to top. It may now have to watch its back with this fun, explosive, rip-roaring adventure that values its characters as much as it values special effects and large-scale action sequences.

In an unprecedented and remarkable achievement, co-writer and director Joss Whedon, brings together the Hulk (Mark Ruffalo), Captain America (Chris Evans), Iron Man (Robert Downey Jr), Thor (Liam Hemsworth),  Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner), with equal screen time and attention, to battle Loki (Tom Hiddleston) a power-hungry God who wants to rule the planet.

Under the guidance of S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson), who has been trying to recruit these heroes in post-credit sequences of each film, the powerful individuals, who up until now worked alone, find it a little tricky to operate as a team. Fury has sensed that something big and powerful would threaten the planet but getting these heroes to work an a single unit to battle Loki has proven to be quite a task.

With so many characters sharing the screen (there are more returning characters and new ones that get a look in here) it seems almost impossible to create a coherent story that gives each one a moment to shine. One or two are usually left out somewhere along the way. But Whedon has taken such delicate care here to make this film feel like they are all the stars. Characters that have been established in their own two-hour film are given room to grow here and others such as Black Widow and Hawkeye, who were supporting players previously, also have their back story fleshed out.

And yet Whedon does not get bogged down in character stuff. In true Whedon fashion, the dialogue is snappy and the cast deliver it with aplomb. This film is that rare creature in which everything clicks. And the stunning action sequences are the icing on this carefully made cake. Certainly not as broody as The Dark Knight, The Avengers is nevertheless a thrilling ride, managing to find pathos in something that is essentially a frothy piece of popcorn fluff. And there is nothing wrong with that.

Wish You Were Here (MA)

Directed by: Kieran Darcy-Smith

Starring: Joel Edgerton, Teresa Palmer, Felicity Price, Antony Starr

Four stars

Review by: Julian Wright

We have all seen how nightmarish holidays can be with the recent slew of vacationers in peril films such as the Hostel series, Wolf Creek, The Ruins and Turistas. Film makers have had a field day in showing us how something that is supposed to be joyous can go from bad to worse. Anything that could go wrong, has gone wrong for the unsuspecting backpackers in these films and pretty much every horrific situation explored. They sure make you think twice before booking that dream holiday. How has the tourism industry not collapsed?

Wish You Were Here covers similar territory – minus the bloodbath, body parts and ear-piercing shrieks – in which four Australians go on a spontaneous trip to Cambodia. Things don’t go to plan for these seemingly innocent people just out for a good time. But instead, the focus is not the horrors of what happened on the trip, but how it tears those who returned home apart.

Told in flashback fashion, we are introduced to married couple Dave (Joel Edgerton) and Alice Flannery (Felicity Price) who have just come home from an overseas holiday in south-east Asia. But something is not quite right. They look more exhausted and drained than people who have been off for a bit of R an R. Alice’s sister Steph (Teresa Palmer) has stayed back. Her boyfriend Jeremy (Antony Starr) has gone missing without a trace.

Not only is Wish You Were Here a mystery that is skillfully unraveled by writing duo and married couple Felicity Price and Kieran Darcy-Smith (who also served as director), but a heartbreaking character study of three people dealing with a puzzling disappearance. Once home, the whole ordeal weighs on those who were there but have no idea what happened to their friend or how he have possibly disappeared into thin air. As it turns out, someone knows more than they are letting on and it is proving to create more problems.

Dave and Alice’s relationship, already strained by their troublesome two children and financial woes, suffers even further and Steph is left to grieve on her own. But as the story develops, and we are drip fed information, more layers are revealed until the devastating conclusion.

Unlike the recent The Lucky One, in which the story suffered from a character unbelievably and unrealistically withholding key information to drive a weak plot, here the plot device adds to the story and characters. There are always times in films where you just want to slap the character who just wont speak up and say “Why don’t you just tell them?!” In the final minutes, it makes sense here. It might prompt you to put that next overseas adventure on hold but seeing Wish You Were Here is a moving and rewarding experience.

The Lucky One (M)

Directed by: Scott Hicks

Starring: Zac Efron, Taylor Schilling, Blythe Danner

One star

Review by: Julian Wright

Nicholas Sparks has become this millennium’s Stephen King when it comes to book adaptations. Already on the verge of Sparks overload, we were (mis)treated to two film adaptations of his books in 2010: Dear John and The Last Song. We were given a break in 2011 but here we go again with another book to film weepie. I suppose we have the continued success of The Notebook to thank for this.

I am not a fan of the kind of films that would have you reaching for the tissues every five minutes with their more often than not simple plotting, manipulative score and teary acting. But while I try to avoid them, I have seen a fair share of bad heart string tugging films. And this ranks as one of the worst.

In some G-rated war scenes, we are introduced to US Marine Logan Thibault (Zac Efron) who, in the middle of battle in Iraq, stumbles upon the photo of an attractive blonde. Convinced the photo, or the woman in the photo, is his lucky charm (he survives while some of his mates perish) he tries to track her down.

It is already a bit of a stretch that he finds this woman, Beth (Taylor Schilling) in North Carolina, but even more difficult to believe is that Logan finds it hard to tell her why he tracked her down in the first place. And so, a five-minute story is dragged out for 90 minutes as weak obstacles arise to force him to keep his mouth zipped. Logan gets a job with Beth at her family run kennel and eventually sparks up a relationship with her.

Their fairytale courtship does not experience smooth sailing however, as Beth’s chauvinistic and jealous ex-husband (and the local Sheriff, no less) Keith (Jay R. Ferguson) tries to keep them apart, threatening to take their son Ben (Riley Thomas Stewart) away from her if she doesn’t end things with Logan. Ho-hum.

The major problem this film has is that it expects us to believe in this badly plotted, poorly acted story and yet forgets one key element: character development. Efron broods his way through the proceedings as Logan, who is clearly written to be a man of little words, but we are always kept at arm’s length from him. There is no access to what makes him tick. We don’t know where he came from or what drives him. A fatal mistake. All the other relationships are unimaginatively drawn and feel more at home in a cheap TV movie.

Predictable, tiresome and cringe worthy, the lucky ones are the those that skip this dreary mess. As the guy next to me whispered to his partner during the preview: “Boring.” I couldn’t have said it better myself.