Un couple presque parfait

Although praised for her roles in the likes of Desperately Seeking Susan and Evita, The Nest Best Thing sees Madonna returning to the form of such previous mishaps as Body of Evidence and Dick Tracey.

The film tracks the relationship between broody yoga teacher Abbie (Madonna) and her gay best friend Robert (Rupert Everett), who end up in bed together following a rather over-zealous Fourth of July celebration. Although Robert agrees to help raise the resulting child, things become problematic when, several years on, Abbie meets and falls in love with Ben (the vastly underwritten Benjamin Bratt), who asks her to settle down with him.

Although there is some on-screen chemistry between Madonna and Everett, the audience expects more, considering the twosome are real-life friends and basically playing themselves. Everett fares best, pulling out all the stops in a reprise of his previous gay role in 'My Best Friend's Wedding'. Madonna's performance, on the other hand, is constantly inhibited by her mega-star status. It is sadly impossible to forget that she is none other than Ms. Ciccone, meaning that her desperate-for-love character appears somewhat implausible.

The script is a clunker, rendering the first half-hour of the movie cliche-ridden and woodenly acted, as the actors have little to work with. To be fair, it does get better as it becomes less predictable, and it is a good move by director Schlesinger to avoid playing the conventional happy ending card, instead prompting the viewer to ponder for themselves the futures of Abbie, Robert, and their son, Sam (Malcolm Stumpf). This cannot, however, excuse several fatal blunders, including the fact the Next Best Thing suffers from an identity crisis, flailing wildly every which way from forced rom-com humour to courtroom drama, not helped by Abbie's sudden and bizarre personality change mid-film. Perhaps irresponsibly, the script also allows Sam (a rather old-looking 5 year old) little emotional reaction to the troubles between his parents.

Although watchable, with reasonable enough performances, the mediocre script fails to convince, leaving the viewer with a frustrated sense of what should have resulted from a potentially interesting Hollywood pitch.

Despite Madonna's lack of screen persona for most of the movie (she does have moments where she pulls it off), the film succeeds in probing questions about unconventional relationships and how they are viewed by society and the legal system. Even though I am a Madonna fan, I was distracted by her attempts to create her practically trademark pseudo-British accent without any consistency. She employs this accent many times, on and off screen, and I for one would like to see her give it a rest. Rupert succeeds convincingly, although Hollywood's portrayal of homosexuals as Judy Garland-loving, gorgeous Adonis-like creatures with impeccable taste and sharp wit, is getting old. Even though Rupert's scene as a flamboyant queen with large glasses and beret got a few laughs -- it only fed on existing gay stereotypes and took away from the fresh story that I thought I was in for. The later courtroom scenes were a little dramatic, and it is slightly unbelievable that in the six years that Abbey and Robert spent raising the child, they didn't think ahead and address the issue of custody with some binding legal documents, both for their own sake as well as the sake of the child. It was clear that both of them didn't want to keep living the single life. Even with its problems, The Next Best Thing is a decent film worth seeing.

Madonna plays a women let down by one man too many. In a night of drunken excess, she sleep with her best friend - who happens to be gay. She is pregnant as a result and they decide to set up home as a family, remaining best friends as they take on the joint responsibilities of parenthood. Things get complicated as Madonna's character falls in love with a new suitor. Probably the most PC movie of the year. If any of the subject matter interests you, and especially if you like Madonna, go and see it. If well-told stories about nice gay men and children leave you cold, forget it. This doesn't take the Mickey out of gay people, neither does it sacrifice by way of caricature or cheesiness. Instead it raises real social questions about rights and responsibilities towards children, and without preaching.

I had high hopes for this -- really, I did. I thought it would be a sweet, charming and tugging-at-the-heartstrings comedy. But I was TOO hopeful.

Story in one sentence: two best friends (one gay, one straight) end up in bed together, have a son, raise him together, everything hunky-dory until she wants to marry someone else and the little family gets screwed up.

Let's talk about what's the worst: the script, hands down. Everything is so spliced in or cut out it's just terrible. The transitions are so choppy, that we barely have enough time to understand the undeveloped characters -- they're just thrown at us and next thing you know, it's years later. It's unrealistic and it's too fictional to really understand or get into. Madonna is suffering from never finding Mr. Right, Rupert is the gay buddy that "somewhat" turns into the bad guy and poor Benjamin is just caught in the middle. We don't know WHO to hate in this movie -- that's pretty much the hard part. Everyone is in the bad guy role, they just don't fit it due to the fact they all need sympathy.

As for Madonna, yes, it's obvious she took lessons. The problem would be that she is way too conscious of the camera. Her husband commented once that she needs to let the director direct -- and I think that's a huge problem with her performance. She is just "too beautiful" in this movie. I mean, she's supposed to be sobbing her eyes out and she looks up and is all glistening and pretty. Sorry, but in order for me to believe her I want to see it on her face that she's worried -- you know, red eyes, puffy cheeks, smeared makeup -- the works. Madonna had too much creative control in this and it's obvious. Her expressions don't fit her tone of voice either; she seems to blink consciously and doesn't have much expression -- but hey, close your eyes and listen to her and you'll see that she's making progress.

All in all, a good storyline put to a bad script and bad performances. Anyone who tells you this is a great movie is obviously a star-struck Madonna fan.

Oh dear.

Don't get me wrong, I love Madonna as a singer and a bloody good one she is too. And she was good in Evita. But no matter how hard she tries she is still Madonna, and as 'Abbie' in this travesty of a film, she proves that she really should stick to the day job (i.e - singing)

I'm trying to be constructive, but this film is truly apalling. Admittedly, Rupert and Madonna are hindered by one of the worst, most hackneyed screen plays I have heard in many a year. Hear are just a few snippets of the trite, contrived, cliched dialogue:

"Being a parent takes more that DNA!!"

"I take sick companies and make them well"

"I miss him. He was totally me!"

The use of gay stereotypes is utterly apalling (I would be outraged if I were a gay man) the plot is dull and the characters are so thinly developed that there is no room for empathy. We learn next to nothing about the character of Abbie (nor do we care) and Rupert's Robert is simply a gay stereotype - I can't believe that he read the script and then agreed to accept the part. Perhaps he was feeling under the weather at the time and his judgement was impaired. Whatever the case, by the time the brat of a kid has his fate decided, you really could not care less what happened to him, Rupert or Madonna. All that stopped me hitting the fast forward button at regular intervals, was the unintentional, self parodic hilarity of this film. A prime example being the impromptu performance of 'American Pie' around the grave of one of the bloke's boyfriend's. Supposedly a poignant touch, this is unintentionally hilarious and has to be seen to be believed.

Avoid it at all costs, unless you have a fondness for seriously bad films, unintentional, self parodic humour, wooden, over-the-top acting, a wafer thin plot, characters who are little more than stereotypes and contrived dialogue. Need I go on?