Like the programmes recent rom-com Set It Up, theres a consolation nutrient excellence to this simple, unremarkable slapstick starring Kristen Bell and Kelsey Grammer

It’s difficult to use terms like success or failure to describe a Netflix original movie since the streaming pulpit remains reticent over sharing any concrete viewing anatomies. But even without such data, it was clear that June’s sprightly rom-com Set It Up was a rare exultation, garnering heated reviews and a dawdle online buzz, more powerful than some of their starrier, most expensive liaisons. Arriving immediately following, there’s a similar comfort nutrient quality to their latest formulaic comedy Like Father, a largely likable if utterly unremarkable stockpile of froth.

Kristen Bell stars as Rachel, a workaholic New Yorker who we first accompany taking an important work call … right before she heads up the alley. Keeping her telephone at hand as she prepares to get married, her fiance ensures it as the last straw and, with their friends and family watching, dumps her. Trying, and miscarrying, to maintain a professional veneer back in the place, she soon falls into a crater of self-pitying and alcohol which leadings her to a prohibit with estranged father Harry( Kelsey Grammer ). The two waste all nighttime sucking and build the drunken decision to take the pre-booked honeymoon cruise together. The morning after, out at sea, the vacation seems somewhat less amusing …

If reports are to be accepted, then an integral step in Netflix’s imaginative decision-making process is a thorough examination of user behavior , noting what’s clicked on, watched, rewatched, downloaded and binged, meaning that we can only blame ourselves for the platform’s recent infatuation with poorly made sci-fi schlock. When taking this into consideration, it’s easy to see why Like Father would be given a easy green light. It’s soft-hearted Sunday afternoon fodder that would struggle to get audiences out of their living rooms and into the cinema but as a no-stakes click at home, a no-brainer.

Taken as such, it’s not without merit. Initially, “theres something” cosily charming about the algorithm-based shell within which it plays out, harking back to late 80 s/ early 90 s comedies that don’t often get made anymore, at least not on such a magnitude. There’s a familiar soul-heavy soundtrack, opening credits that are overlaid on top of a sweeping shoot of Manhattan and the knowledge that everything will play out in precisely the road you expect. Writer-director Lauren Miller Rogen, who co-wrote 2012′ s fun, flimsy slapstick For A Good Time, Call …, has also picked a central duo who feel as familiar as the thinly etched patch that smothers them.

Grammer, experiencing his biggest movie role for quite some time, channels his considerable sitcom experience for a deadbeat pa role whose superhighway to atonement could have been stretched over a two season arc. He shares an effortless chemistry with his on-screen daughter, played with a sharp-witted hem by Bell, knowledge a career high-priced with her character in The Good Place, arguably the best comedy on TV right now. After Veronica Mars, Bell had a rocky path on the big screen, too often stood as a cutesy romantic lead, but when she’s allowed to get in touch with her saltier side, she’s far more effective.

Speaking of salty, there’s a strange embracing of the unmoderated nature of Netflix originals, which don’t face the same certification worries that big screen freeings encounter. It means that pretty much anything get which can lead to films feeling less neutered but can also result in an curious dissonance. In Set It Up, the harmless PG-1 3-esque rom-com is abruptly interrupted by a reputation use the word cunt, something that would have symbolized an wink R rating in theaters. In Like Father, there’s a same handful of swear words (” I’m a fucking bride, you fucking cocksucker !”) that feel strange cushioned in such romantic, risk-avoiding territory.

Kristen Kristen Bell and Kelsey Grammer in Like Father. Photograph: Emily Aragones/ Emily Aragones/ Netflix

Aside from some pick cuss, the script doesn’t really move outside of safe territory. There’s a” going through the motions” feel to much of it, as if it’s more of a screenwriting exercise than a screenplay with Miller Rogen refusing to delve that deep into the fractured affair at the center and littering her film with tired cliches. New Yorkers are angry, Canadians are friendly, stoned old-time beings are hilarious and there’s a regressively written homosexual duet complaining about carbs, flirting with straight men and making unfunny, lewd observes (” I enjoy anything monstrous !”).

There are simple pleases to be had here but one wishes there were more of them. It is nice to see a Netflix film with some aesthetic desire( it’s as slickly filmed as a big screen comedy) and there’s a duet of undeniably achieved performances( together with an charming cameo from Miller Rogen’s partner Seth Rogen) but it doesn’t really was tantamount to much. It’s an undemanding watch, easily digestible while on in the background, but even easier to forget.

Like Father will be available on Netflix on 3 August


Please enter your comment!
Please enter your name here