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Overall Rating
2.5

Awesome: 0%
Worth A Look50%
Average: 0%
Pretty Bad: 0%
Total Crap50%

2 reviews, 0 user ratings



Good Guy, The
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by brianorndorf

"Love means knowing everything in the first reel"
1 stars

It’s the battle of the blands in “The Good Guy,” a highly ridiculous motion picture that puts forth a sliver-thin concept and then has the gall to offer little filmmaking panache to support it. Assuming a few lofty literary references will help add dimension to the picture, director Julio DePietro still must contend with dreary performances from the starring trio, insufferable acting from the supporting cast, and a dumbfounding bit of editorial “flash-forwarding” that effectively ruins any and all suspense.

A Wall Street selling machine, Tommy (Scott Porter) has it all: good looks, money, and a burgeoning relationship with “urban conservationist” Beth (Alexis Bledel), a sweet girl trying to keep the attention of a guy who lives life in the fast lane. Daniel (Bryan Greenberg) is a gentle underling at Tommy’s Wall Street office, hoping for a shot at a desk job. When a position opens up, Tommy takes Daniel under his wing, teaching the sensitive soul a few things about clothes, crude banter, and easy women. When Beth catches Daniel’s eye one afternoon at a bookstore, it causes an immediate feeling of attraction within the rube. However, when the budding Casanova learns of her relationship with Tommy, Daniel is sucked into the friend zone, developing Beth’s trust while Tommy continues his womanizing ways.

In the very opening of the picture, within the first five minutes, “The Good Guy” makes it clear that Beth ends up with Daniel in some form of intimacy. Leaving Tommy out in the rain begging for money and/or a second chance, Beth has made her choice before the first reel has a chance to breathe. This early reveal storytelling method is a common editorial concept these days from filmmakers desperate to pull viewers right into the movie the moment the studio banners are finished flying. Forcing the puzzle pieces together rarely works, but it proves disastrous for “The Good Guy,” which basically divulges all of its secrets right away, leaving a painfully dull picture to play without an ounce of suspense.

It’s a shame DePietro was so adamant to hook audiences in with this tale of good guys versus lotharios, as a patient play with the characters might’ve resulted in a more gripping tale of relationship woe. Instead, the opening cripples the film, which embarks on a routine of unlikable characters trying to make sense of love, despite most of them being unworthy of such affection. DePietro sets up three NYC clichés (the bastard, the princess, and the doof) with conviction, but doesn’t actually motivate them with any type of passion or intellectual design. The filmmaker pushes Beth and Daniel together through the world of books, having the characters bond over the troublesome developments contained within “Lolita,” but the effort is transparent, trying to hammer in a cultured soul to passive lovebirds without any heavy lifting.

DePietro’s efforts are not helped by the three stars, who have a weird way of draining the life out of every scene. Bledel basically coasts right through the picture without straining herself, while Greenberg and Porter compete to be the more forgettable actor (as usual, Greenberg wins), submitting colorless performances befitting their established skill level. And if you think this is some sweet love triangle of throbbing hearts, think again. The script is jam-packed with obscenity, reflecting the callous, unethical behavior of big city men and boyfriend-deprived BFFs, spewed out by a repellent supporting cast (including Aaron Yoo, Andrew McCarthy, and Jessalyn Wanlim) who are out to steal the movie, not assist it. I’m convinced Andrew Dice Clay had a hand in the screenwriting.

When the film finally concluded after what felt like three years, I openly screamed at my television, “That’s it?” Even on a reduced scale of expectation, “The Good Guy” is stunningly empty and obvious, missing its mark as a cautionary tale or a romantic sojourn, instead slogging along a preordained trail of cliché to achieve a dramatic point only DePietro seems to savor.

link directly to this review at http://www.efilmcritic.com/review.php?movie=18696&reviewer=404
originally posted: 06/20/10 00:49:41
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OFFICIAL SELECTION: 2009 Tribeca Film Festival For more in the 2009 Tribeca Film Festival series, click here.

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USA
  19-Feb-2010
  DVD: 22-Jun-2010

UK
  N/A

Australia
  19-Feb-2010




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