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Recent Articles
Recent Articles by Robert Wilonsky
Rainn Wilson comedy is more childish pop than hardcore funny
Full of itself and not half as funny as it thinks it is, this movie is simply tragic
Ben Stiller's Hollywood send-up lacks firepower
Not Quite Ripe
True Bromance
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Continued from page 1
Published on November 29, 2007
From there, the movie unravels further: Giselle, whose behavior most resembles that of a tweener on a sugar high, is completely oblivious to her situation in one sequence, then, seconds later, is instructing Robert on how to act as a cartoon (he can solve all his problems just by breaking into song, she tells him, completely self-aware of who she is and how she behaves). Then, a short time later, she breaks into song again in Central Park — music by Alan Menken, likely some Little Mermaid II leftovers — and it turns into an epic song-and-dance sequence, with Robert joining Giselle and a cast of thousands (more or less) for a frolic through the park. Then, five seconds later, he still doesn't believe she's a fairy-tale princess, like the whole thing never happened (if only). By the time Sarandon shows up and turns into a dragon, you'll wish they had all caught on fire in Neverland. If the movie can't bother, why should you?