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Review: Big Mommas: Like Father, Like Son
Reviews
Breakfast With Scot
Chaste, and lacking wit
By
PETER KEOUGH
|
October 21, 2008
BREAKFAST WITH SCOT
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1.5
Stars
A former NHL hockey star famed for fighting, Eric (Tom Cavanagh) seems the straightest guy around, and he and his partner, Sam (Ben Shenkman), are so un-gay, they don’t even hold hands. Making up for their lack of swishy clichés is 11-year-old Scot (Noah Bernett); he’s the son of Sam’s brother Billy’s recently deceased girlfriend, and until Billy can be tracked down, he’s become Eric and Sam’s responsibility. Will Eric get in touch with his own inner 11-year-old gay child and/or learn the responsibilities of parenthood? Platitudes aside, Laurie Lind’s unctuous fusion of
Three Men and a Baby, La Vie en Rose
, and every other gay rom-com ever made succumbs to its chasteness, its lack of wit, and Bernett’s obnoxious performance — all the twirls and make-up and Christmas carols can’t hide the fact that Scot is a spoiled, charmless little shit. Cavanagh brings hangdog grace to Eric; he deserves better company at the breakfast table.
90 minutes | Kendall Square
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ARTICLES BY PETER KEOUGH
REVIEW: CORIOLANUS
| February 16, 2012
In a line of fascist-style stagings of the Bard from Orson Welles's 1937 black-shirted Julius Caesar to Richard Loncraine's brown-shirted Richard III (1998), Ralph Fiennes sets his lean and hungry take on Shakespeare's tragedy in a mo dern-day war zone, paring the play to a brisk two hours.
REVIEW: SAFE HOUSE
| February 15, 2012
Daniel Espinosa's over-edited but engaging spy thriller delves into edgy territory untouched by any of the numerous movies it imitates: it has Brendan Gleeson do an American accent.
REVIEW: THE SECRET WORLD OF ARRIETTY
| February 15, 2012
The most touching love story and best children's movie in a long time, Hiromasa Yonebayashi's adaptation of Mary Norton's book The Borrowers employs old-fashioned animation techniques to create a world that is familiar, uncanny, and luminous.
REVIEW: RAMPART
| February 15, 2012
The rotten cop flick has become a mini-genre of sorts, a subset of noir, going back at least to Orson Welles's Touch of Evil .
REVIEW: THE OSCAR NOMINATED SHORT FILMS 2012: DOCUMENTARY
| February 10, 2012
The films in this program contain some of the most powerful images to be seen on the screen this year.
See all articles by:
PETER KEOUGH
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