Susan Granger’s review of “The Perfect Man” (Universal)
This romantic comedy reaches out to touch both the adult and teen audience. Produced by her mother/manager Susan Duff, it’s primarily a vehicle to propel the career of Hilary Duff, who has graduated from adorable “Lizzie McGuire” to “A Cinderella Story” and, more recently, joined the other ubiquitous teen pop princesses with her debut album “Metamorphosis.” Holly (that’s Hilary) has a younger sister (Aria Wallace) and a devoted single mother (Heather Locklear) who loves to bake and decorate fancy cakes. Problem is: mom’s a serial monogamist who desperately latches onto one loser after another and moves to a different place to start life anew after each romantic disaster. When they land in a glossy, glamorized version of Brooklyn, Holly decides she definitely wants to stay and plays matchmaker, inventing the titular “perfect man,” a secret admirer, with the help of her chum (Vanessa Lengies), whose bachelor/bistro owner uncle (Chris Noth) unwittingly provides them with the tantalizing courtship clues that they need, and school buddy (Ben Feldman) who lends his computer for the e-mail charade. Holly’s deception is emphasized by the Sir Walter Scott quotation that her English teacher notes on the blackboard: “Oh what a tangled web we weave,/when first we practice to deceive.” Written by Gina Wendkos, based on a story by Michael McQuown, and directed by Mark Rosman, the script is obvious, formulaic, clichŽ-driven. The acting? Bland and boring – except for Carson Kressley as an over-the-top gay bartender and Mike O’Malley as mom’s latest Styx-loving and totally unsuitable suitor. On the Granger Movie Gauge of 1 to 10, “The Perfect Man” is a silly, lame 3. It’s about as garish as one of mom’s sugary confections.
