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When the film gets more serious it produces some affecting moments between the two leads.

Hathaway’s take on the underwritten Jules is refreshingly unshowy, but De Niro seems a little lost.

Meyers wants this to be all sort of amiable and charming and a big warm bath of a film, and it is.

The Internship delivers what it promises, no more and no less, and faulting it for not being a rougher, tougher, smarter film about how much we all seem to live our lives through our work today would be like yelling at a spoon for not being a knife.

In its portrait of a strong, independent woman learning to embrace her own ambition, desires, and future via the aid of an older male mentor-cum-father-figure, it colors its triumphant fantasy of female empowerment in a distinctly conservative, paternalistic shade.

Given the vacuity of the script, it must be admitted that Hathaway achieves something of a triumph. She’s always engaging and keeps the character on a human rather than superhuman scale.

There’s no edge to any character in the movie.

It takes all the leads’ considerable combined charm to forestall the aftertaste of the pic’s smug life lessons and near-comically blinkered worldview.

The bulk of The Intern is a morass of wackiness, a chain of sequences shot in a flat and predictable manner that range from tedious to idiotic.

The spongy subtext of this and every Meyers movie is "We're being serious, but we're also being FUN!" No viewer must ever be made to think too much, feel too much, or be left out. She doesn't so much tell a story as lead a team-building exercise.