Directed By Adam Shankman
Starring – Taraji P. Henson, Wendi McLendon-Covey, Max Greenfield
The Plot – The film follows the story of a female sports agent (Henson) who has been constantly boxed out by her male colleagues. When she gains the power to hear mens’ inner thoughts, she is able to shift the paradigm to her advantage as she races to sign the NBA’s next superstar.
Rated R for adult language and sexual content throughout, and some drug material
– Henson’s infectious personality. While I found her character to be completely insensitive and often at times irresponsible, the suave charisma of this leading lady made her a delight to watch, and only provided emphasis for her constant professionalism. Henson has taken on some less than stellar films, this one included in the bunch, but as an actress she constantly maintains the raw energy she taps into for every role, that in this case harvest plenty of humorous reactions to boost her relatability. I will seriously watch anything that Henson is in, and I’ve already proved that, as she starred in Tyler Perry’s “Acrimony” just last year. This one is a vehicle for Henson’s charms, and should serve as the biggest influence as to why you should see it.
– Rating does wonders. I was NOT expecting this film to be deemed with a coveted R-rating classification, mainly because the original film was limited with a PG-13, but thankfully the film’s dialogue makes the most of this rare blessing. This never feels like a raunchy or mindless comedy, instead opting for authentication in the form of a lot of frequent cursing to properly channel the accuracy in men’s speech patterns. What’s even more important is that the push for adult language never overstays its welcome or spoils its presence, opting instead to present itself when the laugh reaches supreme prominence in the form of audience reaction. Cursing rarely feels as good as it does in this film, and it’s good to see an adult comedy once in a while that actually gets the gimmick right.
– Hidden meaning beneath the hodgepodge. We can forever debate what this film was trying to teach us based on the way it portrays men and women alike, but a comforting message that emerges late in the movie DOES in fact make the whole shallow trip feel worth it, and provides nuanced sentiment to the woman growing up in a society that still has ways to go in making the genders equal. This is a film about not conforming to men’s expectations to reach their approval, and instead being comfortable in the skin of someone who is empathetic towards others. This third act swing doesn’t win the movie over for me entirely, but unlike films like “I Feel Pretty” or “Shallow Hal”, it proves that its heart was at least in the right place.
– Establishes a decent subplot mystery. Without question, the one thing that I cared about more than anything in this script was the ambiguous figure who has voted Ali down time after time when it comes to partner voting for her agency, and while the end result was every bit as predictable as expected, the setting of the male-dominated, adrenaline-fueled worksite made it feel like any of them could easily be responsible. This gives more insight into Ali’s mentality with how alone she truly is, and leaves her and us the audience without the ability to trust a single one of the co-workers that surround her.
– Dated soundtrack. I’m guessing that this remake of sorts has been an idea in the minds of studio executives for a long time because the film’s soundtrack of almost entirely 90’s hip hop and pop jams feels entirely out of place for the current day landscape that the film exists in. I’m not saying that classic music can’t exist in a modern film, but it should be sprinkled in with familiar tracks from the current day, otherwise it comes across feeling like an unintentional tribute to 90’s cinema, which then plays mentally with audience’s interpretation of the world that we are seeing front-and-center. One or two is OK, but the film having five 90’s anthems is a bit too much to be considered coincidence.
– As expected by the trailer, this does become cameo porn in the form of one-and-done faces who add nothing of dimension to the script or even the weight of the protagonist’s gimmick. Even more shameful, the movie becomes this obvious commercial for the National Basketball Association, in that it’s using valuable minutes to spend at a basketball game or the NBA Draft itself, and these scenes do nothing except to showcase a big budget feel in ways that are totally unnecessary and irrelevant. It’s completely distracting, and speaks volumes to the worst part of celebrity cameos being when a script literally has nothing for them to do except to pop in and out of frame.
– Not a single instance of artistic substance. Adam Shankman is easily one of my least favorite directors who keeps getting these mainstream projects, and his work in “What Men Want” is a cliff notes version for everything that limits his potential as an influential filmmaker. Cheap editing effects, dull and uninspired cinematography, flawed camera placement, endless product meandering, and repeated establishing shots of the city of Atlanta. On the latter, the same shot was used on three different occasions, and if you think I’m exaggerating, you should pay close attention to the one car that is parked in the parking lot of Turner Field. It’s all a reminder of how little Shankman has accomplished since 2002’s “A Walk To Remember”, and how little personality he exerts in his mundane presentations.
– Terrible scene plotting. Improv comedy is once again an uninvited guest, but that’s only a small percentage of the problem for a movie with such rocky pacing with a goal to hit two hours. It’s so easy to see what should be cut from this film. Do we need two different sex scenes with the exact same characters? Do we require three different appearances from the psychic character? Is there any need for a wedding that feels forcefully lifted from a Tyler Perry screenplay for its sheer lunacy? Scenes like these exist, and then there are important scenes that gain momentum for the film that are cut abruptly, and it never manages to gain an air of consistency to the pacing that is all over the place when compared and contrasted.
– Pains of the gimmick. The rules associated with the ability to hear the opposite gender’s thoughts didn’t make sense in “What Women Want”, and it’s not any more elaborated on in a sequel nearly twenty years later. How far does her ability to hear go? Can she hear men in the room next door? Why does she perfectly hear each thought and that no two men’s thoughts ever overlap in sound design? How come she doesn’t hear thoughts during pivotal matters like sex or physical fighting? How come she can’t hear her significant other’s son’s thoughts? Is it a puberty thing? There’s plenty more, but I’ll spare you the pointless diatribe. My point is that for a movie that literally centers around mental capacity, its structure couldn’t be any more mindless.
– What Does it say about men? I was offended at the simpleton look of “What Women Want”, and how every woman on the planet was put together in this gift-wrapped box, so you can imagine my disdain when it comes to my actual gender. It turns out that men are feeble-minded, are almost entirely hateful, think about cheating on their girlfriends constantly, and only two great guys in forty exists, and one of those is gay. I wish a film like this would take the time to establish more layers of the gender that it depicts, because its focus feels too much like a spoof to ever capitalize on garnering some substantial social commentary. Films like these should be a breakthrough in communication, but instead are used as nothing more than opportunities to feed into dangerous stereotypes that wedge us even further. Coming from a single 34 year-old-man who can’t manage a date with a female because they have perceived us all the same, I say a big Fuck You to movies like this.
My Grade: 4/10 or D