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Samedi, mai 29th, 2010
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Sure. Why not? The first quiz in assessing a movie’s merit is does it do as intended?
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With “Music and Lyrics,” what it intends is nothing astonishing. It aims to be a fun, romantic, sweet comedy of a man meeting a woman and falling in care for, with a accelerate at pop culture. It accomplishes this. I saw this on February 14, Valentine’s Day, and wanted exactly as delivered.
Paul McCartney asked in the 1970s what the world needs with another amusing like song. “Music and Lyrics” is, in film, a laughable appreciate song.
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Hugh Grant plays Alex Fletcher, a has-been pop singer from a defunct duo similar to Wham!, struggles to secure his contrivance as his audience stops caring. Realistic, he knows what he is safe of, but is unsure what his next step should be.
When Cora, a pretentious design of Britney Spears-Shakira-Christina Aguilera of sex-pop, offers him an opportunity to write a song, he runs into pains. He is a melody man, not a lyricist. His lyricist from his venerable band, Pop!, is long gone.
In walks Sophie Fisher, played with charm by the ever-sweet Drew Barrymore. She’s Alex’s temporary plant watering person (and not a very kindly one), with a penchant for delivering peppy lyrics under her breath. Despite the scorn of fill-in wordsmith Greg Antonsky, Alex takes a liking to her style. Greg’s angst-style, hopeless lyrics seem off kilter with Alex’s personality.
Embittered from a broken affair with an engaged man, Sophie is uninterested. It is one thing to hum a tune, and it is another to commit to writing a song. However, Alex only has a few days and pressures (begs, really), Sophie to befriend.
She acquiesces, and tries to write. Alex and Sophie clash, as he understands the profession of music, and is desperate, and she is smooth stuck on the failed affair.
Both are living in the past, and both need to fade up into 2007 to survive and thrive.
Finally, lyrics are written, and Cora loves them — with a few changes. Cora’s version is laced with faux spirituality and tramped-up seduction. Sophie’s artistic sensibilities are insulted, and pulls the song mighty to Alex’s chagrin. They argue, break-up, and now, Alex is stuck trying to fix a song.
Can he fix the song on time? Will they figure out how to live in the demonstrate day? What about esteem (this is a romantic comedy, remember? ) .
A magnificent self-mocking performance is set on by Kristen Johnston as Sophie’s older sister Rhonda, making jabs at her fill weight-loss campaign. Brad Garrett as Alex’s agent Chris Riley is lawful on the money, as he is both a manager and friend.
Drew Barrymore shows she’s more than the girl next door, but has a kind of Lucille Ball, Jenna Elfman, Meg Ryan mix going on.
Hugh Grant is perfectly cast, and is the better side of himself. He never overplays the role, and yet, does not descend into the ’stupid Englishman’ persona he occasionally does.
I fully recommend “Music and Lyrics.”
Anthony Trendl
editor, HungarianBookstore.com
“Music and Lyrics” is a hoot: witty, luminous, beautifully performed by the intellectual Drew Barrymore (as ditzy, charming, resplendent Sophie Fletcher) and the dry of wit, Hugh Grant (as the less noted half, Alex Fletcher of a hot 80’s duo, “Pop” obviously patterned after “WHAM”) and briskly paced by director Marc Lawrence.
The yarn is light and airy: Fletcher needs support writing a song for a Britney clone, Cora. A song that could maybe bring him benefit to prominence after twenty years of playing store openings, amusement parks and nostalgia concerts. Sophie, though a partner with her sister in a Weight Loss clinic, is a whiz at writing pop lyrics: presto…match made in heaven!
The interplay between Barrymore and Grant is residence on and the dialogue and chronicle are almost up to their genuine timing but they both work hard, though not too as that would lisp the comedy, to build this work and in most scenes it does.
“Music and Lyrics” is as light as a crepe filled with caramelized bananas and topped with whipped cream and as such don’t question more from it than a ample smile and the palatable satisfaction that comes from eating something you have no business gripping.
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