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6/10
Because it's not THAT bad ...
19 February 2007
The bad thing about this movie is that it's nothing the audience hasn't seen before. Lots of directors choose a generic montage of old-fashioned family pictures set to a mellow thematically-charged song for the opening credits. Lots of romantic comedies include generous dosages of overbearing parents, predictable twists-and-turns, and decor that looks like it came out of the Ikia catalog.

Nonetheless, 'Because I Said So' is, for lack of a better word, cute. It's predictable in a way that one expects the characters in slasher movies to die, corny in a way that only overbearing mothers meddling in the affairs of their offspring can be. And yet, isn't that the reason this genre continues to be popular, BECAUSE of the comfort of knowing what's going to happen rather than in spite of it? Nobody went to see "Bridget Jones' Diary" expecting her NOT to end up with somebody, after all.

Predictability aside, the music was fitting, the scenery was attractive - one wonders if somebody on the set was a gifted cake decorator before the film's inception, or even because of it - and the main/supporting cast were all passable-to-energized. Diane Keaton in all of her poof skirts and unnecessarily large heels, is just enough playful and neurotic to make the role work - I particularly enjoyed her speech about motherhood being the most difficult form of love. I've enjoyed Mandy Moore's rise to indie film infamy since "Saved!", more than I did her semi-generic pop starlet days, and I thought she did a nice job here. And though this is largely considered a "chick flick", I do want to point out that any boyfriends, brothers, husbands, etc. who get roped into seeing it may well enjoy the antics of Keaton's character's dog, who provides slap-sticky yet appreciated comic relief.

All in all, it's not something I'd probably buy on DVD, but as a fun and easy way to spend two hours, 'Because I Said So' is worth wading through the clichés.
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6/10
Wicked says it best: 'there are precious few at ease with moral ambiguities'. Or ambiguously genre'd movies, for that matter.
15 October 2006
Warning: Spoilers
I'll get the obligatory summary/agreement of/with what pretty much everyone else has said out of the way briefly: the previews for "Man of the Year" are about a fourth of what the actual movie turns out to be. What we expect as a vehicle for Robin Williams' latest return to more adult fare than "Aladdin", complete with witty punnery, cute sight gags, and Lewis Black writing his jokes, becomes a lengthy, slightly uncomfortable fare where Laura Linney's moral compass takes the driver's seat and Williams' Tom Dobbs character is just kind of along for the ride.

That's not to say that Linney's performance is lacking; on the contrary, I've found her to be delightfully colorful in her usual role as the supporting female in several movies. It's just that audience members have been driven to buy tickets because they want to see a somewhat farcical scenario where a Jon Stewart-esquire candidate wins the hearts and electoral votes of an extremely divided country and helps, if only somewhat, to bring it closer together.

What they get instead is Linney's character trying to uncover a great subterfuge by an up-and-coming technology company in charge of creating shiny new mechanized voting machines. Linney's character, Eleanor Green, discovers a glitch in the machines, rendering the voting process essentially false, and spends about 3/4s of the film running around in her pajamas with red-rimmed eyes, finding herself on the run from her former bosses and henchmen, which is almost as implausible as how easily she manages to schmooze up the new President Elect Dobbs.

Yes, on top of being a political satire AND a thriller, "Man of the Year" also attempts to be something of a love story. And therein lies its main fault: the film is falsely advertised as one thing, and even though it is passable as something else entirely, it does not fully give rise to what it promised to be: the possibility of a reality where the people in office actually deserve to be there. The end result may well be more plausible in the long run, but I can't help but think that, in some cases, a little idealistic Hollywood magic can go a long way.
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