The Rewrite

Hugh Grant, never an actor this critic particularly liked, has become more palatable with age – tarnished, less handsome, and hence more accessible. These qualities are on fine display in The Rewrite, which reunites the leading man with Music and Lyrics writer-director Marc Lawrence. Grant is Keith Michaels, a has-been screenwriter who, failing to find new work, takes a job as a writer-in-residence at an unglamorous public university.

Irreverent and a womanizer, Keith finds a capable foil in snooty and arch Austen scholar Professor Weldon (sexy over-the-hill performer Allison Janney), who does what she can to bring his sojourn at the school to an end. Complicating Keith’s private life are amorous coed Karen (Bella Heathcote) and single mother Holly, the latter part enlivened by an astonishingly well-preserved Marisa Tomei, who exhibits wonderful chemistry with Grant.

Certain supporting characters, particularly among the students, may be too broadly drawn for all tastes, but each serves a purpose and is more or less amusing. Whiplash’s monstrous J.K. Simmons demonstrates his remarkable range here by essaying the instantly lovable role of Dr. Lerner, the avuncular head of the English department, while still-boyish Get a Life clown Chris Elliott turns in the expectedly funny turn as the university’s dweeby Shakespeare specialist.

A touching and sharp romantic comedy that transcends the ghetto of its genre, The Rewrite ought to appeal with equal charm to discriminating men and women moviegoers alike. Consistently interesting and rewatch-worthy, this one is highly recommended.

Keith Michaels (Hugh Grant) regales Dr. Weldon (Allison Janney) and Dr. Lerner (J.K. Simmons) with his unorthodox take on the merits of Jane Austen's body of work, drawing the scandalized glares of bystanders in the process.

Keith Michaels (Hugh Grant) regales Dr. Weldon (Allison Janney) and Dr. Lerner (J.K. Simmons) with his unorthodox take on the merits of Jane Austen’s body of work, drawing the scandalized glares of bystanders in the process.

5 stars. Ideological Content Analysis indicates that The Rewrite is:

10. Drug-ambivalent. Weed seems to be okay – with Keith, if not with Dr. Lerner – but the film’s attitude toward alcohol is more nuanced. Proving true the adage “in vino veritas”, Keith is overly frank in unfriendly company, and Holly feels obligated to drive him home in another instance. He is described as “trying to fill a spiritual vacancy with alcohol.” Fraternity hazing leads to the hospitalization of sci-fi nerd Billy Frazier (Andrew Keenan-Bolger). Notwithstanding all of this, a tipsy Hugh Grant remains very charming.

9. Pro-gay. “Are you a lesbian?” Keith asks Holly. “I wish,” she responds.

8. Anti-gun. “I was hoping you were pro gun control,” Keith says to Dr. Lerner.

7. Irreligious. Heaven is “a fairy tale designed to make a five-year-old boy go to sleep.”

6. Anti-slut. Keith’s brief fling with sexually experienced student Karen leads to disaster.

5. Anti-Semitic! 9/11 criminal Michael Chertoff’s body scanners, Keith suggests, are merely “cancer-causing cash conduits”.

4. Family-ambivalent. His wife, Keith says, was “smart enough to divorce me”. Karen hates her father. Balancing the story’s failed relationships, however, is Dr. Lerner’s lachrymose domestic bliss with his wife and several daughters.

3. Egalitarian. At stake is Keith’s initial conviction that talent cannot be taught – an assertion that the people-loving Holly intends to challenge. Falling on the side of nurture as opposed to nature, The Rewrite to this extent lends itself to the programs of leftist social engineers.

2. Pro-miscegenation. Keith, tasked with selecting his students based on the strength of their screenplay submissions, instead looks at their online profiles and stocks his roster with a bevy of multicolored cuties including an Asian, two negresses, and a Jewess. The viewer is given to understand at the end that an unexpected Jew-congoid hookup is imminent.

1. Sexist! Dr. Lerner diagnoses icy bitch Professor Weldon as “elitist, lonely, [and] miserable.” Keith, meanwhile, earns major Nazi shitlord points with this drunken faculty cocktail party rant:

Forgive me, but I’m just a little bit tired of female empowerment. […] Well, just, honestly, though, everything seems to be about female empowerment nowadays, you know. Any meeting I go to in Hollywood, someone says, “You know what we need? A kick-ass girl, that’d be a great twist.” Except every movie has a kick-ass girl, you know, some martial arts CGI slow motion woman who kicks the crap out of every man in her path. Can I tell you what would be truly innovative? A movie without a kick-ass girl, or better yet, a movie where a woman gets her ass kicked.

Rainer Chlodwig von Kook

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