The actor joined Boris Johnson at the British capital's Victoria and Albert Museum, where they gathered with business leaders to plot ideas for investment in the U.K.'s cultural attractions during the global economic downturn.
Spacey, who serves as artistic director for London's Old Vic theatre, argued the city's museums and theatres serve to boost the economy.
He said, "I genuinely believe that the U.K.'s pre-eminence in arts and culture constitutes one of this nation's most powerful national resources.
"Too often we highlight the social aspects of what we can achieve or the artistic merits which are, of course, important. But I believe at this time, at this moment, we should change tack. Instead of apologetically holding our hat in our hands, we should cite the economic successes of what is, after all, called show business."
Date Movie doesn’t have a story as much as it does a series of miss-or-really-miss spoofs of date movies and cultural hodgepodge; the thin “story” is just enough to keep the film from being a series of vignettes. Julia (Alyson Hannigan) who makes Big Momma look little is determined to find her Prince Charming instead of wasting away in her lonely apartment. She briefly finds him in Grant Fonckyerdoder (Adam Campbell) before losing him (so ends any originality). So she visits a date doctor named Hitch (Tony Cox)—yes that movie—who takes her to get barbaric liposuction. Then she meets Grant again they fall in love and she meets his parents Mr. and Mrs. Fonckyerdoder (Fred Willard and Jennifer Coolidge) making for a Meet the Fockers spoof (the biggest spoof-ee). Julia has competition from Grant’s ex (Sophie Monk) allowing for more film references but ultimately they live clumsily ever after.
It’s hard to see through the utter mess that is Date Movie enough to evaluate its acting but Hannigan seems to be at least serviceable. Although it seems like “acting” here means merely nauseating the audience enough so they can taste the vomit but manage to hold it in. Like when she licks Tony Cox’s face for 15 or so seconds—in slow motion… It’s more Fear Factor than Inside the Actor’s Studio. As for Campbell Date Movie is his first. There’s no frame of reference whatsoever and yet it’s still clear that he’s above this. He almost seems like a classically trained actor who’s forced to stretch his comfort zone by performing horrendous impressions such as the orgasm scene from When Harry Met Sally. The lone semblance of a bright spot comes from Coolidge impersonating Barbra Streisand’s Roz Focker. Again way too classy for this Movie.
Date Movie's trailer brags “From two of the six writers of Scary Movie...” After seeing it you can’t help but muse “It took two writers for that movie?!” The writers in question are Jason Friedberg and Aaron Seltzer who also co-directed. The film should at the very least be an appetizer for Scary Movie 4’s upcoming entrée (to which they did not contribute) but with no hint of continuity or a passable storyline it even fails that menial task—and where the Scary Movies have succeeded is in the satisfactory stories that surround the film references. The biggest problem though lies in the spoofs: While the rules mandate that only chick flicks/date movies can be parodied the writer/directors abandon their target audience by referencing movies like When Harry Met Sally. Luckily there’s always an audience member who feels the need to solve the conundrum aloud.
Paige Morgan (Julia Stiles) is under a lot of pressure. She's a pre-med student at the University of Wisconsin so she's got class all day a minimum wage job tending bar in the evenings and she burns the midnight oil filling out med school applications through the night. She's driven she's got goals and by golly she doesn't have time for love. Prince Edvard (Luke Mably) on the other hand lives a charmed existence: He'll be king one day and he lives in a castle in Denmark travels the world races fast cars has a butler (Ben Miller) to tend to his every need and his exploits in love are emblazoned on the pages of nearly every European tabloid. But when the royal mum and dad (Miranda Richardson and James Fox) demand that Edward start acting like a guy about to become king he's feeling some pressure too. Miraculously an infomercial featuring hot Midwestern college girls baring their breasts inspires him to head for the dairy capital of the world--penniless but with butler in tow--where he meets Paige. He introduces himself simply as "Eddie " then asks her to bare her breasts. This tack naturally gets him nowhere fast so he decides to woo this coed spitfire by learning to be a little more like her and a little less like the pampered prince that she as yet doesn't know him to be: He gets a job tutors her in Shakespeare and helps with the chores when they visit her parents' dairy farm. Love blooms but what the future holds for these star-crossed lovers from two such different worlds remains to be seen.
With The Prince & Me Stiles adds another lightweight coed romance to a growing list that includes Save the Last Dance and A Guy Thing and as usual the talented actress adds more to the role than she gets from it. When her character's in her element especially on the family farm in Wisconsin Stiles comes off as genuine and the performance is relatively natural although her accent still carries vestiges of the posh 1950s school girl she played in the recent Mona Lisa Smile which rings a little false. Mably seems well cast as the dashing prince; he's reminiscent of a young Prince Andrew or England's current favorite royal Prince William. Mably's physical resemblance to these swoon-worthy royals helps fuel the chemistry between his character and Stiles' but chemistry isn't enough to overcome the overlong journey to the resolution of the formulaic plot. Nonetheless adolescent girls will absolutely love this movie and no doubt will moon over pictures of the real-life princes and Mably himself in Tiger Beat for many days to come.
Once Eddie and Paige feel the initial spark of young love The Prince & Me is a series of innocent courtship scenes and fish-out-of-water antics culminating in a few too many will-they-won't-they cliffhangers as Eddie is pushed toward the throne and Paige has to decide whether or not she wants to trade in "Dr. Morgan" for "Her Majesty the Queen." Throughout the movie one wonders how director Martha Coolidge and writers Jack Amiel and Michael Begler will end the fantasy: Will Paige be queen? Or will she stay true to her own dreams? Will Edward give up the throne to be with Paige? Or will The Prince & Me overcome all the obstacles of its formulaic plot setup and be--gasp--original? The filmmakers don't seem able to decide and there are at least three stuttering codas at the conclusion of the movie none of them particularly memorable or fulfilling. Alas poor Yorick you'll have to see it to find out what they are but let's just say Romeo and Juliet this ain't.