She’s the One has a fantastic first act. Some of the banter doesn’t connect, but all of the performances are strong and when the banter does connect, it makes up for the rest. Director, writer, and star Burns relies a little too much on “gentle” homophobia for the banter between his character and Michael McGlone’s. They’re brothers–John Mahoney (easily giving the film’s best performance) is the dad. Mom never appears. I thought she was deceased, but no, Burns just doesn’t give her an onscreen presence, which is a big problem later on. Anyway, Burns’s reliance on the “sister” jokes for McGlone end up just being foreshadowing for the real problem with the film–Burns and McGlone are lousy leads.
But, wait, still being upbeat about the first act. Maxine Bahns is great as Burns’s new wife. They meet in his cab in the second or third scene and go off to get married. Jennifer Aniston is excellent as McGlone’s suffering wife. She gives the film’s second best performance. But she’s not just suffering because McGlone’s an alpha male jerk, but because he’s carrying on with Cameron Diaz.
Diaz, it turns out, is Burns’s ex-fiancee, who he left after she cheated on him. Eight million stories in New York City, of course it turns out everyone knows each other. Except they don’t, so Burns isn’t even trying to do an interconnected thing. Once the second act hits, Burns fully embraces the “movie about nothing.” Short scenes, usually in long shot, setting up what someone else says and then everyone else talking about it. Maybe if it were intentional, but it seems like Burns is trying to find the story. He never does. She’s the One has roughly thirty minutes of actual content. It runs over ninety minutes.
Along the way, there’s some fine acting from Mahoney and Aniston. Frank Vincent is hilarious as Aniston’s father. McGlone’s a funny jerk. The problem is he’s pretty much the lead, because Burns is exceptionally passive in his performance. He gives himself the shallowest character. Well, it’s between his character and Mahoney’s, but at least Mahoney gets an arc, at least Mahoney gets some agency.
Diaz is bad. She’s got a terrible part, which just gets worse for her along the way, but she’s not good in it. The film requires her to have exceptional chemistry with Burns. She has none. She ought to have some chemistry with McGlone too, since he wants to leave Aniston for her. But nope. Aniston and McGlone, when they’re with other people and not just in their own subplot, are great together. Bahns is best in the first act, then her part goes to crap too.
She’s the One is about Burns and McGlone having to accept some responsibility for themselves and doing whatever it takes to get out of it. Burns, as director, tries as hard as he can do get them out of it too. The women of She’s the One are all universally more interesting than the men; Burns just doesn’t want them to be. So there’s some internalized, “gentle” misogyny going on too.
The last act is a rush to save everything and, thanks to Mahoney and Bahns, Burns is almost able to pull it off. Almost.
Great songs and score from Tom Petty (though it’s usually just for Burns and Bahns, McGlone and Aniston don’t get music). Frank Prinzi’s photography is solid, even if a lot of Burns’s composition is questionable. When he finally gets around to letting characters talk and actors act–i.e. the third act–She’s the One shows some of the promise of the first act.
It’s just too little, too late.
Written and directed by Edward Burns; director of photography, Frank Prinzi; edited by Susan Graef; music by Tom Petty; production designer, William Barclay; produced by Ted Hope, James Schamus, and Burns; released by Fox Searchlight Pictures.
Starring Edward Burns (Mickey Fitzpatrick), Michael McGlone (Francis Fitzpatrick), Maxine Bahns (Hope), Jennifer Aniston (Renee), Cameron Diaz (Heather), John Mahoney (Mr. Fitzpatrick), Leslie Mann (Connie), Malachy McCourt (Tom), Amanda Peet (Molly), Anita Gillette (Carol) and Frank Vincent (Ron).