A character that practically begs for a Seth Rogen type -- or at least someone less immediately adorable than "True Blood" mouth-breather Ryan Kwanten -- frustrated writer Leo Palamino sits by as his wife Julie (Kristen Hager) walks out. Adding insult to injury, she launches a scathing (and instantly popular) blog called "Why You Suck" that exposes all his flaws and positions her to be the publishing sensation he never managed to achieve on his own.
Ryan McPartlin) -- the sort of specimen who makes Greek statues feel inadequate.
But if Leo is a flawed guy just looking for his soul mate, why can't Colette be someone for whom the ideal man simply isn't enough? That's the long-shot hope on which all of Leo's ambitions hang, allowing him to blithely soldier past his shortcomings and pursue this near-total stranger. With help from best friend Neil (Will Sasso), a couple of Indian kids and an unlikely ally in Charlotte's misfit mom (breath of fresh air Catherine O'Hara), Leo resorts to stalking, spying and just plain intruding on her newly married life.
Such is the unique pleasure of the romantic-comedy genre -- that no obstacle is too great for true love -- and though Megan Martin's script (from Tim Sandlin's novel) boasts its share of outrageous moments (including far too much attention paid to Sasso's scrotum), the overall tone feels downright old-fashioned, as if the team had set out to make a feature-length riff on "The Graduate's" wedding-crashing climax. There are even a few physical gags -- including one involving a slingshot, a hang glider and a precarious arrangement of pastries -- that may as well be lifted from another century.
In the end, while Leo may never quite disprove his "loser" label, he boasts a yearning underdog appeal that wins strangers to his side -- if only each plot twist weren't quite so easy to telegraph in advance. Credit Kwanten for turning the character, whose limited talents include juggling plates in his dead-end dishwashing job, into someone so winning, without the actor having to remove his shirt until the very last shot.
Chechik and d.p. Luc Montpellier apply an almost candy-colored, hyper-saturated finishing coat to the otherwise blase lensing, making the film's occasional visual effects (including a white "Spirit Bear" who stumbles into the alpine setting from time to time) look all the more contrived.
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