The Switch is being touted for its on-screen pairing of “longtime friends” Jason Bateman and Jennifer Aniston. Which is odd because I found their scenes together in Josh Gordon and Will Speck’s romantic comedy about a 40-year-old single woman who sires a son artificialy with sperm that unbeknownst to her came from the loins her best friend to be its weakest aspect. Bateman whose improvisational wit is widely heralded appears tentative and deferential in the presence of Aniston as if he’s wary of going all-out for fear of eclipsing his co-star who also happens to be an executive producer on the film.
Their strained comic rapport makes for a flat and largely unfunny first act in which it is explained how Wally (Bateman) a cranky neurotic investment banker inadvertently impregnates his baby-mad best friend Kassie (Aniston). The whole contrived episode culminates during an “insemination party ” a peculiar New York City cougar ritual presided over by Kassie’s new-age pal Debbie (Juliette Lewis) wherein Wally drunkenly substitutes his semen for that of the Nordic Adonis (Patrick Wilson) originally designated for the job.
But just when The Switch’s foreboding intro has us steeling ourselves for 90 more minutes of high-concept rom-com pabulum the film pull a dirty trick: Its story fast-forwards seven years during which Kassie returns to her native Minnesota gives birth to a son named Sebastian and is lured back to present-day New York six-year-old Sebastian (Thomas Robinson) in tow by an irresistible job offer. It’s a shamelessly manipulative ploy bringing in the adorable pint-sized ringer off the bench but it turns out to be a welcome one breathing much-needed life into The Switch’s moribund proceedings.
Sebastian is truly a miniature version of his father whom he knows only as “Uncle” Wally with all of his intelligence and neuroses but none of the weary cynicism that adulthood inevitably breeds in such types. Bateman is clearly more comfortable — and a lot funnier — around Robinson and The Switch’s most memorable moments are found in the bond they develop.
But alas The Switch is a rom-com and so space must be allotted for the less appealing “rom” portion of its story. Kassie spends the bulk of the film believing that the Nordic Adonis is Sebastian’s true father despite the fact that he bears no resemblance to him whatsoever and when Wally finally confesses to his sperm-swapping she goes predictably ballistic renouncing him entirely. But the two are destined to be together so we are told and their estrangement is a brief one — lasting only a somber montage or two. When they’re inevitably united (if you consider this a spoiler you are beyond hope) we’re happy about it if only because no child should be forced to grow up with Jennifer Aniston as a single mother.
Holly Kennedy (Hilary Swank) doesn’t know how lucky she has it. She’s smart beautiful and married to Gerry (Gerald Butler) a passionate funny and impetuous Irishman who loves her with every breath in his body. But when that breath runs out--Gerry dies unexpectedly from an illness--Holly’s luck runs out. Barely coping her salvation arrives in the form of letters from Gerry that come to Holly in unexpected ways--letters he wrote to her before he died to help her get through the pain and move on with her life and letters that always end with “P.S. I Love You.” A saint huh? Holly’s mother (Kathy Bates) and best friends Sharon (Gina Gershon) and Denise (Lisa Kudrow) begin to worry Gerry’s letters are keeping Holly tied to the past but in fact each letter pushes Holly on a journey of rediscovery and to show her how a love so strong can turn the finality of death into new beginning for life. Tissues please! Swank will be damned if she pigeonholes herself into always playing serious women who don’t wear makeup. P.S. I Love You is her stab at romantic dramedy and while the genre may not suit her best the Oscar-winning actress still has fun playing a spirited woman who wears designer clothes cute hats and gets to make out with a strapping Irish hunk. Actually Swank gets to bed TWO strapping Irish hunks in P.S. I Love You: The first is the yummy Butler of course and the other is Gerry’s old bandmate William played by American Jeffrey Dean Morgan (who’ll be seen in the upcoming romantic comedy The Accidental Husband with Uma Thurman). Lucky girl. Butler however is the one the ladies will sigh over the most. Having already given a powerhouse performance this year as the Spartan king in 300 the Scottish actor turns the tables to show his soft underbelly as the adorably romantic and fun-lovin’ Gerry. The abs still rock though. One can easily see why Holly is such a mess after he dies. Gershon and Kudrow add some genuineness as Holly’s friends (someone please find a Kudrow a TV show) as does Bates as Holly’s hardened mother. Harry Connick Jr. however seems out of place as Holly’s would-be suitor. She just needs to stick with the Irish guys. Hilary Swank teams up with her Freedom Writers director Richard LaGravenese once again for P.S. I Love You and it’s clear they have a symbiotic relationship. Swank probably likes the way LaGravenese accentuates her best features turning her into a glam leading lady while LaGravenese obviously enjoys gazing at her through his camera lens. Unfortunately the two really haven’t found the best material. Freedom Writers is the mother of all teacher-gets-students-motivated retreads while P.S. I Love You--based on a novel by Cecelia Ahern and adapted by LaGravenese and Steven Rogers--is just pure fluff with very little substance behind it. Not that the film won't inspire some romantic feelings or work up tears but its only real strengths are: 1) the players who somehow rise about the triteness of it all especially Butler and 2) the gorgeous landscapes of Ireland which should send any woman in her right mind straight to the Emerald Isles to find her perfect man. Seriously ladies book your trips NOW.