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post in: LifeStyle, Facts Date:01 Sep 2013, 18:39 views:2811
Jennifer Aniston and Jason Bateman fail to charm in this flaccid misfire of a film.
Step aside Prince Charming theres a new fairy tale in town, and your only substantive contribution fits into a small plastic sample pot. At some point in the last few years the Shangri-La, the unattainable dream of romantic comedies, shifted from man to baby.
Hollywood started asking itself what happened after Happily Ever After, jennifer and the answer they started trying for a baby, went through several painful, unsuccessful courses of IVF before he cheated with a work colleague wasnt pretty. The Back-up Plan and lesbian artificial insemination drama, the Kids are all Right a cinema trend was begun; with this months.
The Switch the babycom has well and truly arrived.
Fortysomething Kassie (Jennifer Aniston) is desperate to have a baby. Sick of waiting for the right guy she tasks best friend Wally (Jason Bateman) with helping her find the perfect sperm donor.
On the fateful night of her insemination party (go with it a drunken Wally accidentally destroys the donor sample and replaces it with his own a sequence of events he has conveniently forgotten by morning. Fast-forward several years and Kassie returns to Wallys life complete with her intense, hypochondriac son, Sebastian, all pudding-bowl hair and spurious resemblances to neurotic Wally. Now, battling Kassies unlikely love affair with sperm donor Roland (Patrick Wilson Wally must declare his own love for her and claim Sebastian as his own.
This is the kind of flaccid dramedy (the hybrid genre that Anistons previous tear-wringing. Marley Me introduced to the world) that would normally star limp-locked Brendan Fraser; one of its few redeeming features is that it does not.
Bateman does adequately as beady-eyed man-child Wally, the slightly less charming American cousin of Hugh Grants. About a Boy character, bringing the requisite awkward mumblings and preppy angst to a man whose sole purpose seems to be to provide the straight guy to Jeff Goldblums demented boss Leonard. Together with Juliette Lewis as the kooky, best friend, Goldblum has a blast, and sports a fetching array of knitwear while doing.
Lewiss dry wit (or the pasteurised version that passes as such for the American market) is a welcome break from Anistons casual sincerity, but at no point deviates from the traditions of the supporting female role as set out by Hollywood Screenwriting 101. Thomas Robinsons Sebastian is precocious to a fault, the single and only attraction of this embarrassment of a film, with a gift for comic expression Aniston could do well to study.