Grade: C-
Entire family: No
2019, 89 min., Color
Romantic Comedy-Fantasy
Rated PG-13 for Language, some sexual material, and a brief drug reference
Warner Bros.
Aspect ratio: 2.40:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: C
Trailer
Amazon link

Isn’t It Romantic?

Uh, not really, I’m sorry to say.

This 2019 film from Todd Strauss-Schulson (A Very Harold & Kumar 3D Christmas) seems to want to satirize romantic comedies while also following the formula and hoping audiences will walk away feeling warm and fuzzy about the possibility of romance for everyone—whether they’re “beautiful people” or not. As admirable as that message may be, it’s tough to have it both ways, and the film falls flat as satire and also disappoints as a romantic comedy.

“Flat” is really the operative word here. For most of the 89-minute runtime, Isn’t It Romantic has zero energy—flat as a half-bottle of beer that’s been left out overnight. Actors seem to be just going through the motions. One big problem is the script by Erin Cardillo, Dana Fox, and Katie Silberman. It’s just plain dull, and limp lines contribute to the overall flatness. Too often, gags go on unmercifully long. We don’t, for example, get a lot of laughs, insight or plot exposition as Natalie (Rebel Wilson) goes on and on about why she hates the rom-com formula in a montage that we’re guessing is supposed to be funny. As for the gimmick the writers employ to give Natalie a conk on the head and put her smack dab in the middle of a romantic comedy, the film is frankly more fun and interesting without it. And unfortunately, that gimmick occupies the bulk of the film.

With older movies like The Wizard of Oz (1939) and A Connecticut Yankee in King Arthur’s Court (1949), the conk on the head journey worked because of the deep contrast between worlds. It was fascinating to see Oz through Dorothy’s eyes or to experience medieval times through from the perspective of a horse-and-buggy-era blacksmith. Also missing in Isn’t It Romantic is the level of smart reporting and detail that makes newer stranger-in-a-strange-land films like Pleasantville (1998) so compelling, and when Natalie does begin to suspect that she’s in a romantic comedy it’s not nearly as satisfying as when Jim Carrey learns he’s in a reality TV show (The Truman Show, 1998).

Another problem is Wilson herself. She frankly doesn’t have the range to convey the emotional journey a main character needs to make for a film like this to be successful. She plays a milquetoast architect who lets others at the firm walk all over her—even those for whom she’s a superior. There’s an attentive co-worker (Adam Devine as Josh) who obviously has a crush on her, but Natalie is oblivious to his feelings. You KNOW they’re going to get together because that’s the rom-com formula, but we frankly don’t care because not enough time is spent on their relationship or situation, and because Wilson doesn’t sell it. Those who were wondering if she could make the leap from comic character actor to lead actress will probably walk away from this film speculating on the reasons why the funny actress wasn’t able to pull it off. A veteran lead actress might have been able to compensate more for all those flat lines and long periods between laughs. Even multiple allusions to Pretty Woman and 13 Going on 30 aren’t enough to help.

Liam Hemsworth, who plays the eye-candy man of every rom-com woman’s dreams, seems a little lost, and in a role that’s supposed to be comic relief Brandon Scott Jones isn’t nearly as funny as we needed the clichéd gay best friend of the rom-com heroine to be. One of the film’s more hilarious moments comes near the end, when Natalie comments on how she thought her neighbor was heterosexual because of all the women who went in and out of the apartment, and the character and his partner get indignant because, “What, we can be gay AND sell drugs?” There just aren’t nearly enough funny moments like that, and you realize, too, how flat the film is when the cast launches into a big song-and-dance number and you think, Finally, some energy! Wilson fans will of course enjoy seeing her in a different role, but others will watch that big number and wonder why there wasn’t more energy throughout the film.

Language: Lots of suggested f-bombs but only one use of the word, plus another couple dozen lesser swearwords and a “double bird” flip-off

Sex: No nudity or implied sex, but the size of a man’s organ is discussed at some length and Hemsworth is shown in just a towel in a Groundhog Day scene that keeps repeating

Violence: One of the film’s funnier scenes involves Natalie fighting with a would-be mugger in the NYC subway; later Natalie pulls an IV out of her arm and blood squirts everywhere, and there’s a sudden car crash

Adult situations: There’s some drinking in a karaoke bar and a character is seen smoking; there’s also a brief reference to selling “weed”

Takeaway: Wilson is the latest popular character actress to find out that it’s tougher than it looks to carry a film as the headliner