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Chalet Girl |
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The list
of romantic comedies that just don’t
‘pop’ seems like an ever-increasing norm in the film industry. Whether
it is
the two-dimensional plots, the lack of chemistry between the lead
characters or
even a complete absence of reality, the flaws of a poor rom-com cry out
at you
with deafening persistency.
Traill’s
film is overly predictable and every
scene is nothing we haven’t seen before. One believes that Traill tried
to play
with the cliché’ of clandestine relationships, yet the under
development of all
the characters does nothing to hide the gaping holes in the script by
Tom
Williams. Was this film supposed to be a coming of age comedy or a
passionate
romp in the snow? The third factor of Kim dealing with the shock of her
mother’s death only serves to muddle the already conventional story.
The
comedic talents of Billy Bailey and Bill Nighy are wasted and the
confusing
relationship between Richard and Jonny’s respective others (Brooke
Shields and
Sophia Bush) does nothing to renew our faith towards inter-sex liaisons. What is also questionable is the direction of
Westwick’s character as the male lead. Are we supposed to believe the
whole
‘I’m-a-rich-kid-but-not-happy’ mentality that is crammed down our
throats from
his introduction? As expected, Kim overcome’s Jonny’s façade and seems
to be
the only person in the entire Alps who understands him. The film is not
entirely flawed, with the rapport between Kim and fellow chalet girl
Georgie
(Tamsin Egerton) indulging our love of British twang. The
cinematography of
Austria is quite stunning and the action shot’s of the snowboarding
competition
are exciting enough to see the film through to its conclusion.
After the
flop of his previous film All About Steve (2009),
Phil Traill’s
ill-fated venture into convoluted comedy has done nothing to heighten
his credentials.
Chalet Girl does not showcase enough captivating
features to balance out the banality of the plot or the sappy ending,
complete
with cast singing throughout the closing credits. Despite a solid a
performance
from Jones, Traill’s film lacks the spark that that goes hand in hand
with this
genre and ultimately the audience is left with little to empathise
with.
Perhaps if the abominable snowman had made an appearance and eaten Kim
in her
downhill run, the dynamics of the film would have held some surprises
and not
blatant mediocrity. |
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