The plot never quite knows exactly where it’s heading, despite adhering to every adage in the rom-com book, and then arrives at an ending that’s as contrived as it is head-scratching. What lessons have been learned? What was the main character’s arc? Among many questions, Sammy’s ignorance when it comes to her ex staying with her and her boyfriend is confounding. Why Sam would agree to such an emasculating act remains a mystery as well.
Margoiles resorting to techniques that were banal and juvenile even back in 2012 –the protagonist breaking the fourth wall, amateurishly theatrical interludes – isn’t helped by the bland camerawork that cloaks the proceedings with a distinct whiff of shabbiness. Things haven’t aged well, particularly the way women here are mostly viewed as commodities, trophies, without much of a say of their own.
“…disarming sweetness, careful balancing of tones, and solid lead performance…”
To reiterate my initial point, it’s too bad, as it’s not all bad. Gad has genuine chemistry with Ruhlin (although he’s the more experienced actor). While not quite Apatow (whom he adoringly references), Margoiles manages to pull off the sweet-raunchy balance for which he clearly strives so hard. Genuinely funny moments are scattered throughout, among a few genuinely touching ones.
Take the scene that involves Sam taking out the trash while Sammy bonds with John over birthday presents. If only the rest of the film was as sharply observant, laconic, biting, and smart. As lame as it is truthful, She Wants Me is exactly halfway there.
"…as lame as it is truthful, She Wants Me is exactly halfway there"
