Romantic comedies aren't supposed to take themselves too seriously, and "Nothing Too Good For A Cowboy" succeeds in creating a "feel good", lighthearted vibe from its likable characters. Although it has a certain amount of unpretentious, quiet charm, it never rises above that monotonous note. Saddled (pun intended) with that one-note script and directing, its charms ultimately suffer from being too lightweight, too clichéd, too gimmicky, and too contrived. Like the merest sweet trifle of a dessert, it may taste good, but can ultimately leave you unsatisfied.
Set in WWII-era rural British Columbia, it's story line is basically a traditional Western, complete with the expected uninspired clichés. We follow our characters on the all-too-familiar terrain of the cattle drive, complete with sections of the script and directing that apparently were lifted en masse from the Western 101 text book. It's "hook" is the romantic relationship, and Sarah Chalke (Eliott on "Scrubs") does an acceptable job of keeping her character interesting, as the fish out of water (and into the forest).
Ted Atherton's crusty and flip cowboy does wonders with the limited script, and a young Ryan Gosling proves the adage that there are no small parts, it's all about what you do with them. The gimmicky editing, cinematography, and directing may have been an attempt (failed) to enliven the weakness of the too lightweight script, but it was the actors doing the best they could with what they were given, that gives "Nothing Too Good For A Cowboy" the one thing that was good about these cowboys (and cowgirls): their charm.
Set in WWII-era rural British Columbia, it's story line is basically a traditional Western, complete with the expected uninspired clichés. We follow our characters on the all-too-familiar terrain of the cattle drive, complete with sections of the script and directing that apparently were lifted en masse from the Western 101 text book. It's "hook" is the romantic relationship, and Sarah Chalke (Eliott on "Scrubs") does an acceptable job of keeping her character interesting, as the fish out of water (and into the forest).
Ted Atherton's crusty and flip cowboy does wonders with the limited script, and a young Ryan Gosling proves the adage that there are no small parts, it's all about what you do with them. The gimmicky editing, cinematography, and directing may have been an attempt (failed) to enliven the weakness of the too lightweight script, but it was the actors doing the best they could with what they were given, that gives "Nothing Too Good For A Cowboy" the one thing that was good about these cowboys (and cowgirls): their charm.