Ira Black (Chris Messina) is a prototypical movie New Yorker--he wears a lot of black he's in therapy (well technically analysis) and he's in the habit of over-thinking everything he does from his Ph.D. dissertation to what to order for lunch. Then he meets free-spirited empathetic Abby Willoughby (Jennifer Westfeldt) and everything changes. They're engaged within hours married within a week and in couples' therapy not long after. Meanwhile their long-married parents--uptight opera-going Sy (Robert Klein) and Arlene (Judith Light) Black and freewheeling easygoing Michael (Fred Willard) and Lynne (Frances Conroy) Willoughby--have their own issues to face. And their own professionals to consult. In the end everyone's left pondering the true meaning of love commitment marriage and mental health. When a movie's cast is as full of talented professionals as Ira and Abby's it's hard to begrudge the fact that most of them are playing somewhat familiar characters. Messina's Ira is angsty conflicted and quick to question happiness--in other words every neurotic New Yorker Woody Allen ever played. Meanwhile Westfeldt (who also wrote the film) works the same loquacious slightly kooky charm she perfected in Kissing Jessica Stein; you can't help liking Abby even when you want to shake some sense into her. In the supporting cast Klein Light Conroy and Willard are all strong rising above the "conservative" and "hippie" labels hanging over their characters' heads (it's particularly nice to see Willard in a role that's a bit toned down from his usual brand of cheerful oafishness). And familiar faces like Jason Alexander Chris Parnell and Darrell Hammond are a welcome too. Ira and Abby is only Robert Cary's second feature film credit; his first Standard Time was a musical and you can see some of that genre's broad sensibility here too. Ira's pre-Abby world is all dark colors cool light and sharp lines--but when he crosses into her sphere suddenly primary hues are everywhere rooms are suffused with warm yellow glows and furniture is for relaxing on not admiring. Unfortunately too many of the same kind of obvious cues direct the story as well. Westfeldt's script is smart and often charming but it's never very hard to guess where Ira and Abby is going: If you're looking for a "and then they got married and lived happily ever after" story you won't find it here. Ira and Abby's perspective on marriage may be a bit more realistic than the Grimm brothers' but you still shouldn't recommend it to any newlyweds you know.
Maid in Manhattan is yet another take on the Cinderella story. There are very few surprises but the film is still somewhat enjoyable despite its predictable setup. Cinderella aka Marisa Ventura (Jennifer Lopez) is a hardworking no-nonsense single mom who loves her son Ty (Tyler Posey) and dreams of breaking out of her job as a maid at a five-star hotel in Manhattan. Her Fairy Godmother aka co-worker Stephanie (Marissa Matrone) unwittingly gives her that chance when she convinces Marisa to try on some expensive clothes left in a suite by the Evil Stepsister aka spoiled socialite Caroline Lane (Natasha Richardson) while they're cleaning. In walks Prince Charming aka Christopher Marshall (Ralph Fiennes) an incredibly handsome U.S. senator candidate and the city's most eligible bachelor and Boom! sparks fly. Chris thinks Marisa is the expensive suite's occupant--and she's too overwhelmed by the domino effect that happens to tell him different. Ah what a tangled web love at first sight can weave. Marisa spends the rest of the movie trying to cover up her error in judgment while also becoming increasingly drawn to her prince. Will he find out who she really is? Of course. Will it matter in the end? Of course not.
This may have been created as another vehicle to help further propel the career of actress/singer/designer/fiancee to Ben Affleck J. Lo but unexpectedly someone else comes out of the film looking better--Fiennes. It's little hard even for Jenny on the Block to outshine an Oscar-nominated actor. He elevates the formulaic subject matter and portrays a pretty down-to-earth Prince Charming without us ever seeing a forced move. I'm curious as to why such a high-caliber actor would choose such a run-of-the-mill project like this but whatever the reason he makes it work--at least for his part. Lopez doesn't do anything out of the ordinary. In fact it looks like she may have simply cloned the same expressions she put on in her other successful romantic comedy The Wedding Planner. And unfortunately Lopez and Fiennes don't share the same kind of heat she shared in that film with Matthew McConaughey or even George Clooney in Out of Sight (still her best performance to date). Yet they manage to convey a fair amount of good feelings to make the movie palatable. Richardson has a blast playing the rich bitch Caroline while Matrone making her film debut just comes off as annoying and pushy even if she thinks she's doing the right thing. Thank goodness she is because if things had turned out badly it would be in Marisa's best interest to go out and shoot her. Stanley Tucci as Christopher's watchdog campaign manager and Bob Hoskins as a senior-level butler at the hotel both do the best they can with silly parts.
Maid in Manhattan relies so heavily on the been-there-done-that Cinderella formula it becomes one of those romantic comedies you'll end up waiting to watch on cable one Saturday night rather than paying to see in a movie theater. It's really a shame because director Wayne Wang (The Joy Luck Club) had some interesting elements to play with and lots of acting talent to back it up. Perhaps Lopez could have played Marisa more wacky than so serious maybe try to show some comic ability. It would be a nice change of pace to think out of the box for once--what if the lovestruck pair didn't get together in the end? (I know the film would have fallen flat on its face.) But instead Maid wallows in predictability and implausibility. Christopher falls a little too hard and a little too fast for reality. Also it's hard to believe a maid would have access to all the hotel's amenities as Marisa does--borrowing a Harry Winston diamond necklace from the hotel jewelry store for the gala event? Unlikely to say the least. The only aspect of the film that stands out is the sneak peek you get into the inner workings of a top-notch hotel. It's definitely a world you don't get to see very often.