The underlying story of redemption for an insensitive womanizer played by Matthew McConaughey (Fools Gold) almost doesn’t work. The conventions of the A Christmas Carol storyline are modified to permit three “ghosts” to appear to McConaughey’s character before his younger brother’s wedding. The director and McConaughey create a character, Connor Mead, so sleazy and unsympathetic throughout most of the film he almost becomes irredeemable. McCongaughey’s performance feels lazy and recycled; the overconfident playboy character he’s been in his last half-dozen movie roles.
The rest of the cast pick up some of the slack for the main character, who is eventually supposed to see the error of his ways. Jennifer Garner (Juno) puts forth a touching nuanced performance as a jilted former love interest and Michael Douglas (You, Me and Dupree) lightens the mood as the long-dead, swinging bachelor uncle. McCongaughey miraculously makes up (partially) for his earlier performance with humor and genuine emotion in the last twenty minutes of the film. This frustrates me even more because the guy can act but either chooses not to or picks roles that don’t require it.
Connor Mead is a cocky professional photographer who spends his days taking pictures of models in their underwear. Women swoon over him, despite his overriding attention to their bodies and inattention to their needs. Unexpectedly showing up for his younger brother Paul’s wedding, Connor attacks the sanctity of marriage while trying to bang a bridesmaid or three. Garner is his former childhood sweetheart and ex-flame. She appears to be immune to his charms and is able to handle him in ways others can’t. During the evening before the wedding, Connor’s dead uncle appears to him and warns him to change his womanizing ways. Connor is to be visited be three ghosts of girlfriends from his past. The viewer learns in assorted flashbacks that Connor was not always the unlovable stud he is today. Will this peek back into his former life change his ways before his brother’s big day?
While McConaughey’s character is a bit overdone (but not to the point of being funny), the greater concern is the portrayal of women in the film. Almost every female in the movie can’t resist Connor’s charms, despite the fact that many of them know better. Most of them are all too happy to oblige him no matter what he says or how he acts. What kind of a message does that send? Garner’s Jenny is allowed a greater degree of depth but the audience can still see she has feelings for him. The hurt expressed on her face is subtle but feels misplaced on Connor. Douglas is a scene-stealer in the film, humanizing the lethario Connor learned his tricks from.
Much of the dialogue feels clichéd owing to an unremarkable screenplay. The finale finds the heart which the rest of the movie lacked. McConaughey feels like a different actor at the end as he draws you in with his heartfelt words. This grand finale can’t redeem the whole movie but it does give the film a jolt of life when it needs it most. And stories of redemption are hard films not to be emotionally moved by. I recommend trying The Family Man and Scrooged as better, modern takes on a similar theme.
Rated PG-13 for sexual content throughout, some language and a drug reference.
