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“The Terrifying Truth” represents something I never idea I’d see: A romantic comedy that both women and men will luxuriate in. Granted, it probably won’t be for the same reasons. Women will like it because underneath it all, it’s a fairly typical romantic comedy, the yarn of Girl Hates Boy, Boy Hates Girl, Boy and Girl Descend in Like Anyway. Men will like it because one of the main characters expresses powerful of what they reflect and feel on a daily basis. Everyone will like it because the anecdote is captivating and the characters are not mere cardboard caricatures. You can actually invest in them, and you’re able to care about what’s going on. What could easily have been a routine date night movie is instead a surprisingly satisfactory movie that need not wait until date night. It’s also genuinely funny–a bit raunchy, yes, but amusing unprejudiced the same.
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Much of the film’s success is due to the fabulous onscreen chemistry between Katherine Heigl and Gerard Butler. They continuously execute us laugh, yet the comedy is not so gargantuan that you can’t contain them in their roles. They produce a point of interacting with one another, not as funny relief but as sincere people. Heigl plays Abby Richter, the romantically challenged, neurotic, controlling producer of a failing Sacramento morning talk prove. Butler plays Mike Chadaway, the chauvinistic host of a public access relationship program called “The Repugnant Truth.” He’s unapologetically tell-it-like-it-is in matters of men and women. There’s no such thing, he claims, as a sensitive, nurturing man who wants to connect at an emotional level. Men impartial want sex, monotonous and simple. And they only want it with fair women.
Abby, who thinks Mike’s rhetoric is appalling, is skittish when she learns that he has been hired to her site in an grief to boost ratings. They clash at every turn … until he learns that she’s eager in dating her next door neighbor–an orthopedic surgeon named Colin (Eric Winter) who honest happens to be incredibly beautiful. Sensing she’s doing everything cross to start a relationship, Mike offers to encourage Abby by having her test his relationships theories on Colin. She reluctantly agrees, and certain enough, Mike’s methods work wonders. She dresses more provocatively. She learns to discontinuance being primary and avoid discussing her personal problems. She learns to be the embodiment of both the saint and the sinner, or as Mike puts it, “The librarian and the stripper.”
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And that’s when things launch to bag more complex. Abby is succeeding with Colin, but only at the expense of not being herself. On the other hand, could anyone admire her as herself? She is, after all, known for bringing background checks and printed topics of conversation to blind dates. As for Mike, he has very distinct reasons for believing that loving relationships are a sham. They’re gradually revealed not only through carefully structured scenes, but also through Butler, who shows he can get the good balance between smug and sensitive. We discover that Mike is the closest thing his young nephew has for a father, and even though he playfully gives the boy relationship advice, he’s also fleet to remind him that kids should never, ever seek his exhibit.
Heigl also manages a balancing act with her performance, specifically between strength and vulnerability. Abby overachieves at work to compensate for a lack of a worship life, which initially seems laughable but steadily grows desperate. For reasons she doesn’t care to admit to, she’s falling in like with Mike, and he too is falling in fancy with her. But what about Colin? Is he with Abby only because of the façade Mike told her to build up? There’s a scene between her and Colin tedious in the film that directly addresses this swear, and to my delight, it’s handled in a method that avoids objective about everything that would happen in the average romantic comedy. There are no shouting matches. There are no flying fists. There are no confrontations. There’s only a collected moment of realization that the truth is indeed frightening.
Scenes like these are wonderfully juxtaposed with moments of well written comedy. There are some very comic moments between Cheryl Hines and John Michael Higgins as unhappily married news anchors who fraction the same desk and time slot. The film’s single funniest scene takes plot in a restaurant and involves Abby, an extremely stimulating pair of underwear, and a control plan that ends up in the nefarious hands.
I can say with complete honesty (and some embarrassment) that I wasn’t expecting such a strong film. I certainly wasn’t expecting a strong film belonging to this particular genre. What floors me is that two of the three writers of this film are Karen McCullah Lutz and Kirsten Smith. There are the same two that brought us “The House Bunny,” one of the worst films of 2008. They certainly got it apt this time around. “The Repugnant Truth” is one of the best romantic comedies I’ve seen in a long time, a savory and engrossing anecdote about the fronts people show. It’s laughable without lowering itself to the level of cheap gags, and this is in spite of the film’s well-deserved R rating. Heigl and Butler convincingly pull off a romance, no miniature feat given the contrived nature of these kinds of films. At last, a date movie both the man and the woman can delight in.
this is a very raunchy correct to the point film which is extremely hilarious as long as you have a very commence mind and are not at all prudish. gerry and katherine play off each other with spacious ease and are very comfortable in this very comic sex comedy about how men really deem about sex and relationships according to mike,gerrys character, against kathys character, who is a very uptight traditional chick. the film is all about their inevitable clashes against their varied opinions on this topic and how they survive working together on a early morning chat present. i thoroughly recommend this film for an extremely comedic time for both men and women. it is not your usual chick flick and most people will be able to connect with this film and its morales, even though they might not want to admit it.
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