Then there are the 27 really bad bridesmaid dresses Heigl’s character Jane keeps in her closet. Quite spectacular really--ranging from a Goth rocker dress dog collar and all to a rodeo Western dress complete with cowboy hat. You see the completely selfless Jane is pretty much the world’s best bridesmaid. She’s happy to put on the most heinous outfit because she knows this is her girlfriend’s day and anything she wants goes. Thing is Jane forgets about taking care of herself forever putting aside her own hopes and dreams. Then she meets Kevin (James Marsden) a newspaper reporter on the bridal beat who witnesses Jane’s bridesmaid expertise one evening and decides a story about this wedding junkie is his ticket to journalism fame. Jane initially brushes him off--until her younger sister Tess (Malin Akerman) comes to town and steals the heart of her boss (Edward Burns) a man Jane has been pining for for years. With Kevin’s influence Jane finally realizes it’s time to stop eating someone else’s wedding cake and take a stand. Heigl is on a roll these days. She got Knocked Up in one of last year’s funniest comedies and then won the Emmy for her role on Grey’s Anatomy. It makes sense she’d follow things up with 27 Dresses since she’s now considered the new go-to girl for romantic comedies. Of course Heigl as the “plain Jane” sister next to Akerman’s glitzy blondie is a tad unrealistic but Heigl totally sells it. The actress should be cautious about doing too many rom-coms however because she could pigeonhole herself and never be able to shake it (Meg Ryan anyone?). Marsden and Burns are adequate as the love interests with Marsden coming out of it smelling the sweetest. Akerman (The Heartbreak Kid) does what she can with the thankless role of bridezilla. But the real gem is Judy Greer as Jane’s coworker and resident wisecracker. The supporting actress has done the “best friend” character in countless romantic comedies--and in wedding ones to boot such as The Wedding Planner--but we never tire of her snarky enthusiasm. Director Anne Fletcher’s film career has been mostly as a choreographer specializing in comedies such as Along Came Polly The Wedding Planner and The 40-Year-Old Virgin (did they dance in that?). She got her directing break when they handed her the reigns to modest dance hit Step Up but it’s obvious being involved in all those romantic comedies rubbed off on Fletcher as she handles 27 Dresses with ease. Directing fluff movies of this kind has got be fairly easy technically speaking but Fletcher isn’t quite experienced enough to bring out the best in her actors which is what makes or breaks a good romantic comedy. That and the script of course--which unfortunately for 27 Dresses is a rather pedestrian effort from The Devil Wears Prada screenwriter Aline Brosh McKenna. The film’s highlight is definitely when Jane models all 27 bridesmaid dresses but other than that it’s all pretty formulaic.
Eighteen-year-old Nick Powell (Justin Chatwin) has been for reasons too convoluted to go into left for dead. But his body’s still alive and his spirit – stuck in limbo – continues to interact with those around him desperately trying to communicate his existential plight before his body – hidden in a storm drain - expires. Being caught between life and death is probably a scary place but it’s likely more compelling than depicted here. The cause of Nick’s current dilemma is Annie Newton (Margarita Levieva) a juvenile delinquent and classmate of Nick’s whose troubled upbringing turned her into such a teen terror. Nick must try and compel Annie to locate his body but it takes an inordinate amount of time to do it during which the story – and the film as a whole - falls apart. After awhile it’s difficult to work up much sympathy to say nothing of any interest for what happens to these characters. Chatwin (Tom Cruise’s son in War of the Worlds) scores his first big-screen lead here and does about as well as can be expected under the circumstances which are fairly dire. With better material this might have been a decent showcase for his leading-man qualities. Better luck next time. Not nearly as fortunate is Levieva playing the prettiest leader of a high-school crime ring in recent memory. One minute she’s playing it tough and thrashing Nick within an inch of his life. The next she’s tearfully admonishing her little brother (Alex Ferris) not to make the same mistakes she made. It’s a terrible role and worse an inconsistent one. The biggest name in the cast Oscar winner Marcia Gay Harden plays Nick’s domineering mother. Like many of the roles in the film it’s strictly one-note. Still it’s nice having a pro like Harden on hand – even if the film goes out of its way to squander her talents. Only Callum Keith Rennie as the obligatory detective on the case manages to bring a little credibility to the proceedings. So naturally the film ignores him for long stretches. David S. Goyer is better known – and rightly so – for the films he’s written (Dark City Batman Begins and the Blade films) than the ones he’s directed (Blade: Trinity anyone?). But the true blame here falls on screenwriters Mick Davis and Christine Roum whose attempt to combine a supernatural storyline doused with teen angst fails miserably. At times The Invisible feels like leftovers from The Sixth Sense Ghost Jacob's Ladder The Butterfly Effect (yikes!) any number of Twilight Zone episodes and even Groundhog Day. The Invisible is based on a Swedish novel and a previous film but like the many Asian chillers that undergo an “Americanized” remake something has been lost in the translation – starting with credibility even on its own terms. So many movies undergo reshoots these days but rarely has an entire movie felt like a reshoot. The Invisible has that dubious distinction.