The Ugly Truth Reviews

More than 10 years ago, thanks to ‘Grey’s Anatomy’, Katherine Heigl finally got her major break-through and she got pretty lucky that the first movie she made afterwards, ‘Knocked Up’, was a box-office hit. Unfortunately, all the movies she made afterwards were increasingly disappointing and, nowadays, her once promising career seems pretty much ruined. This movie is a perfect example. Indeed, even though it was a box-office success, it received some really poor reviews. In fact, even though I had some really low expectations towards the damned thing, I have to admit that it actually had some potential. Of course, it was an average romantic comedy with the usual clichés, lame jokes and it was rather predictable but when Gerard Butler gave his speeches on TV, it was actually working and I couldn't help laughing. Eventually, if they would have gone all the way in this direction, with a very cynical, slizzy bastard guy, it could have been pretty neat. Of course, they didn't, instead, they chickened out and gave us this rather boring flick. To conclude, even though the damned thing actually had some potential, it was a rather weak romantic comedy and I don’t  think it is really worth a look, except maybe if you are a fan of the genre. 

Hollywood, it would seem, has grown unable to produce a great romantic comedy. With the modern studio system predominantly concerned about making money through minimal effort, you'd be hard-pressed to encounter a studio-produced rom-com which doesn't adhere to as many genre clichés as possible. The Ugly Truth is a perfect example of a generic romantic comedy from the Hollywood factory. It's also more or less a lazy rehash of practically every element of 1989's When Harry Met Sally (with similar protagonists, similar sex jokes and an analogous perspective on relationships). But at any rate, the creators of The Ugly Truth (including three female screenwriters - God help us!) had the decency to set it apart from the uninspired rom-coms of recent memory with some material that's funny and a commentary on men & women that's fairly accurate (if a bit hackneyed). Beyond this, however, The Ugly Truth is a cookie-cutter movie, and the cookies are rather stale.

The female protagonist of this story is ambitious, romantically-challenged TV producer Abby Richter (Heigl). When the ratings slump for Abby's morning show, the station manager hires Mike Chadway (Butler) to increase the show's popularity. Mike is the host of a television program who offers insights into the primal male psyche. Abby detests Mike and his philosophies, but he becomes an instant TV sensation. Meanwhile, Abby takes a liking for her hunky new neighbour Colin (Winter). When she becomes cornered, Abby grudgingly agrees to let Mike help her court Colin and prove his theories on relationships along the way.

The set-up is painfully familiar - boorish everyman who doesn't believe in deep relationships meets fussy professional woman seeking true love. They initially loathe one another, but opposites attract in the world of romantic comedies. The story, in other words, is nothing unprecedented. The Ugly Truth stays inside the lines; making sure the eternally single girl lives with a cat, and the dream date has the perfect physique. With a trio of women credited with penning the screenplay, one would hope for some smarter feminist positioning. But alas, the film holds true to every hoary moviemaking chestnut; from the best friend who lives vicariously through the heroine to the obligatory music montage which implies the growing bond between guy and gal. The concepts of subtlety and nuance are discarded, as is the very concept of innovation.

But The Ugly Truth is admittedly hilarious - not consistently so, but there are enough laughter-inducing scenes to keep things from becoming tedious. The scenes that grant Mike the freedom to talk about relationships and sex are frankly hilarious. There's a glut of other comedic set-pieces as well (such as a predictable incident in a restaurant involving vibrating underpants). Since the filmmakers amplify the crudity factor, your enjoyment of The Ugly Truth will depend on your taste in romantic comedies and tolerance for vulgarity. The film is about as review-proof as any teen-oriented blockbuster.

Another of the film's strengths is the way it pokes holes in the romantic illusions between men and women that should prove fascinating for both genders. The film suggests that while women possess a mental checklist for the perfect man and spend their leisure time reading books about men, men are in fact very basic with their genitals acting as their guiding compass.

The star of the show is Gerard Butler, who's clearly having fun with his character of Mike Chadway. He's rakish, frank, eccentric and roguishly charming without even trying. Above all, he's an absolute riot and he confidently keeps the film afloat throughout the rough patches. It's a tour de force of a performance. At the other end of the spectrum, Katherine Heigl (who executive produced with her mother) is merely adequate, and seems a tad stale alongside the excellent Butler.
Cheryl Hines and John Michael Higgins are terrific and under-utilised as the married co-anchors of Abby's news program. Bree Turner has some great moments as Abby's romance-starved assistant, and Eric Winter is as good as possible considering he's playing a cardboard cut-out of a character. Nick Searcy is also noteworthy as the TV station's beleaguered manager.

It's a common belief that the central characters of a romantic comedy must be likable in order for the movie to work. But in the real world, there are detestable individuals who still manage to find love. It'd be a real achievement if a bunch of filmmakers were able to make a smart, funny rom-com which involved a contemptuous person searching for love. This would be an effective way to shake up the weary formula. The Ugly Truth had the potential to be that particular movie, but it ends up playing it safe; sticking to the tried and true rules of the genre. There's at least some fun to be had with this by-the-numbers romantic comedy though, and the humour (sophomoric as it often is) relieves some of the boredom of this generic love story.

6.2/10