A shameless Hollywood production that tries to jam together several mis-fitting pieces for its own mercurial purposes. Despite a fair enough effort, the film-makers ended up releasing an insulting jig saw of string-tugging romance, contrived possibilities, and insincere morality.
International pop star falls for a much older divorcee and entices her into a world-wide fling of sex, pop music, immature celebrities, and self-realization. Constantly returning to her senses, Selene (Hathaway) breaks off the affair three times, only to have puppy dog and paparazzi favorite Hayes (Galitzine) come crawling back for more, dragging the underbelly of his fame into her private life.
Hathaway steps in with a professional and beautifully played Selene; Galitzine, serving as the eye candy with a fetish for older women (Freud was an unpaid consultant in virtually every scene). Still, Galitzine's performance was surprisingly passably good. The supporting cast was forgettable, but this is expected as (after Hathaway) no one here has much experience in front of a camera and all are still learning their craft.
In the end, the film fails miserably to satisfy its major purposes: 1) cast Hathaway as a box-office draw to pad the wallets of some Hollywood hangers out; 2) provide a vehicle for introducing another backroom creation of yet another cookie-cutter boy band; and 3) get some film time to bolster the careers of several newbies who have been dubbed by the mercenary Hollywood money crowd. That the public has to finance and sit through their creation is just insulting.
Don't worry, Hollywood still knows how to make you cry and carry you along on the highs and lows of romantic love. It's just when you look behind the curtain and all of Hollywood's very worse traits are staring back at you, that you vomit between the tears and quivering lips.
International pop star falls for a much older divorcee and entices her into a world-wide fling of sex, pop music, immature celebrities, and self-realization. Constantly returning to her senses, Selene (Hathaway) breaks off the affair three times, only to have puppy dog and paparazzi favorite Hayes (Galitzine) come crawling back for more, dragging the underbelly of his fame into her private life.
Hathaway steps in with a professional and beautifully played Selene; Galitzine, serving as the eye candy with a fetish for older women (Freud was an unpaid consultant in virtually every scene). Still, Galitzine's performance was surprisingly passably good. The supporting cast was forgettable, but this is expected as (after Hathaway) no one here has much experience in front of a camera and all are still learning their craft.
In the end, the film fails miserably to satisfy its major purposes: 1) cast Hathaway as a box-office draw to pad the wallets of some Hollywood hangers out; 2) provide a vehicle for introducing another backroom creation of yet another cookie-cutter boy band; and 3) get some film time to bolster the careers of several newbies who have been dubbed by the mercenary Hollywood money crowd. That the public has to finance and sit through their creation is just insulting.
Don't worry, Hollywood still knows how to make you cry and carry you along on the highs and lows of romantic love. It's just when you look behind the curtain and all of Hollywood's very worse traits are staring back at you, that you vomit between the tears and quivering lips.
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