THE GOOD GUY
BY CHRISTOPHER HASKELL
JUNE 29, 2010
“The Good Guy” takes a different approach to the art of storytelling. The production of the film progresses much as the story does. From the get-go, the film was unable to grab me. Alexis Bledel plays Beth the girlfriend of a stock trader and is absolutely gorgeous however cannot 100% carry the film. However Alexis does show she can take her career to the next level by displaying all of her strengths as an actress in just this one role. From the start, the voice-over narrative of the film confused me.
The fast walking, smooth talking character Tommy (Scott Porter) did not appear to be the main character, yet he was the narrator. The narration was unevenly sporadic and the film would have been just the same had it been cut. It was only good for the closing scenes, yet still feels unneeded. Anna Chlumsky (“My Girl” and “In The Loop”) was, once again, a nice sight, as a friend of Beth’s who eventually gets set up with the geek-slowly-turning-hunk, Daniel (Bryan Greenberg), who immediately falls head over heels for Beth. Besides the fast talking Wall Street men and the confusing opening plot, the film won me over. The interactions between Daniel and Beth were handled well. I felt the reality of the moments and believed their back and forth dialogue and progression from friends to more than friends.
For the book club in the movie, they read “The Good Solider,” which mirrors the events and emotions happening in the film. Daniel’s emotions rang true, having personally held feelings for ladies with boyfriends, the emotion is gut-wrenching and you can feel it coming from Daniel as he watches Beth walk across the room with his superior at work, Tommy. The film finishes magnificently with great original twists, believable transformations across the board, and a whole new outlook on the film as a whole. You could not ask for a more perfect ending. “The Good Guy,” at times, can be painstakingly slow, but endure and you will find that it is worth the perseverance. The film comes off fresh, sincere, and real, qualities lacking in many romantic comedies today, especially from first time writer-directors.
February 19, 2010
(for pervasive language and some sexual content)
Melanie J. Elin