...ultimately establishes itself as an affable endeavor that benefits substantially from the charismatic work of its two leads.
Jack & Jill vs. the World (2008)
Tomatometer
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Reviews Counted: 8
Fresh: 2
Rotten:6
Average Rating: 3.7/10
Rated: Not Rated
Runtime: 87 mins
Theatrical Release:Apr 11, 2008 Limited
Synopsis: Freddie Prinze Jr. returns to the romantic comedy genre that made him famous with this sweet film about love between opposites. Jack (Prinze) is a New York businessman who finds his dull life... Freddie Prinze Jr. returns to the romantic comedy genre that made him famous with this sweet film about love between opposites. Jack (Prinze) is a New York businessman who finds his dull life upended by the appearance of Jill (Taryn Manning). Though they're separated by years in age and miles in personality, the pair quickly falls in love and moves in together, but nothing is as easy as it seems. JACK AND JILL VS. THE WORLD also stars Kelly Rowan and Robert Forster, as well as director and co-writer Vanessa Parise. [More]
Starring: Freddie Prinze, Taryn Manning, Kelly Rowan, Peter Stebbings
Starring: Freddie Prinze, Taryn Manning, Kelly Rowan, Peter Stebbings, Vanessa Parise, Charles Martin Smith, Robert Forster
Director: Vanessa Parise
Director: Vanessa Parise
Screenwriter: Peter Stebbings, Vanessa Parise
Story: Peter Stebbings
Producer: Vanessa Parise
Composer: Jeremy Parise
Studio: First Look
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Reviews for Jack & Jill vs. the World
Achieves the holy trinity of painful earnestness, combining cute animals, sick teenagers and an idealistic belief in love and goodness that's actually deceptively judgmental.
Written, directed, acted-in and produced by Parise, she's proven her creds as a one-woman employment agent. But, by now, she should be picking up that directing is a weak spot.
Blind to the fact that it should be rising up against its own formulaic kind.
Parise no doubt intends the pic's attention to the disease -- plus animal adoption and fair trade coffee -- to be socially enlightening, but it feels suspiciously like sympathy-mongering.
More farce might have served the film well; as Parise draws from a playbook of medical melodrama and romantic-comedies clichés, her moral about living outside the box becomes harder and harder to swallow.
There's an overwhelming and quite repellent amount of gloss applied to the finished product, yet underneath it all are many scenes of honest emotional confession, distributed through wonderful atypical performances.
Considering the talent assembled, the only audience draw here is the prospect of getting out of the rain.
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