Lucy (Zellweger) is a high-powered Miami executive assigned to oversee the downsizing of a plant in New Ulm, Minnesota, population 13,000. Of course, it's the dead of winter there, but Lucy's surprise at the icy weather is nothing compared to the culture shock when she meets her tapioca-making assistant (Hogan), beer-swilling plant manager (Simmons) or opinionated union rep (Connick). Also of course, these rural bumpkins aren't nearly as stupid as Lucy thinks they are. And she's not nearly as ignorant as they think she is. Could there possibly be a way to save the plant?

From the belaboured set-up to the cliche-ridden conclusion, the plot never rings remotely true. We can actually hear the gears churning through each requisite narrative milestone, accompanied by loud clunks as corny contrivances push characters together or apart on cue and set up the big final resolution. It's neither clever nor subtle, and it never tells us anything we haven't already heard in untold fish-out-of-water romantic comedies before it.

And yet, there's something here that still manages to grab our attention. It's certainly not the odd casting of the pinched Zellweger and beardy Connick as romantic foils, although perhaps it has something to do with their utter unsuitability as romantic leads. Much more interesting is the character played by Hogan, who actually introduces some depth to the film through her observant dialog, which touches on issues of community, friendship and religion in a way that's far more effective than Elmer's obvious directing choices.

And besides the thin plot, the direction is the main problem here: Elmer falls back on extremely corny slapstick and cheap gags (a smart executive would surely check the weather report before flying anywhere), shoehorning in a random makeover sequence and a Christmas carolling night straight out of Whoville. And perhaps the most annoying thing is that, even though the film is utterly formulaic, it kind of works.

themes, language

24.Feb.09