By Diana Lee LaBrecque
The plot could be judged as being a little obscure: a flaky temporary plant waterer inspiring a former 80’s pop star into writing a new hit single in three days. It sounds like it should be a flop but Music and Lyrics is actually doing pretty well at the box office. The target audience is clearly meant for any single woman between the ages of 18 to 49, which is very understandable because seeing Hugh Grant’s dance moves could make any girl wilt.
Grant, as idolized Alex Fletcher, plays his usual tight-jeaned, self-involved, money driven character whom he replicated in Bridget Jones, Love Actually and Two Weeks Notice. Playing opposite him is Drew Barrymore, as Sophie Fisher, an emotionally closed off plant girl who stumbles into the former pop star’s world. Together they write a love song for an über-pop star who’s a mix between Shakira and Paris Hilton.
Hugh grants the audience a charming glance into the overlooked world of has-been pop stars. His main desires are money and fame before he meets idealistic Fisher. Barrymore plays the most well-rounded and lively character that she’s played compared to her past roles in Fever Pitch, 50 First Dates and Never Been Kissed. Though Hugh and Drew have surprised audiences in the past with their darker roles in American Dreamz and Donnie Darko respectively, both actors are becoming more pleasurable to watch as they age.
Written, directed and produced by chick-flick regular Marc Lawrence, Music and Lyrics follows the typical pattern of an easy-going comedy. Lawrence’s fail-safe watered down melody can be found in any of his previous films such as: Forces of Nature, Life with Mikey and Miss Congeniality. Two characters come together for reasons unrelated to their previous life style and show each other what is missing from their unsatisfying lives. Mixed in is always a few B-lister, eccentric players, which in this case would be the agent as Brad Garrett (Everybody Loves Raymond) and the sister as Kristen Johnston (3rd Rock From the Sun).
Lawrence’s newest film, as always, leaves you with a warm and tingly feeling as you walk out of the theater after a very acceptable ninety minutes. The comforting factor about his films is that he doesn’t overdo his plots with a three-month long courtship or drag on the story for an unnecessary two hours. His movies are always light and not overbearingly feathery.
The most refreshing aspect of this romantic comedy is that the leads never dramatically proclaim themselves to be in love. They never even speak of unrealistically falling for each other, which has been the case for both Barrymore and Grant’s past films. The film is more enjoyable to watch when the grand idea of finding the love of your life in three days isn’t an issue, even after they sleep together.
Though this film was enjoyable, it didn’t hit all of the high notes. Poor pacing halfway through slows down the progression of the film. But then it picks back up again when Fletcher starts to let the 1980’s go and slowly eases in to the present. Though it’s always a good time to see Grant’s thrusts and shakes woo a crowd of women, there could have been one or two less full performance numbers. They seem to just take up space in the movie when it might have been a better idea if a couple montages were thrown in there instead. But it is necessary to hear all of Grant’s songs especially if you wanted to buy the soundtrack since Grant sings seven out of the eleven songs on the album.
On another flatter note, Barrymore’s shady character takes awhile to get used to. Her socially awkward, self-conscious behavior is obnoxious at first but then she becomes a delightful contrast to Grant’s domineering, self-assured persona.
Hands down-if you like Hugh Grant then you’ll like this movie.
Grade: B
