The two leads start off hating each other, and then…well, they’re pretty convincing in their hatred for each other. This leads to all the usual rom-com setups, including a stop at a B&B that will only take in a married couple, and a lovely view of the Irish countryside. Irish folklore states that a woman can propose to a man on the 29th of February Anna’s hotshot cardiologist boyfriend Jeremy (Adam Scott, who usually plays a real prick, so you know something is off here) has failed to propose after four years together and happens to be in Dublin, so Anna sets off to join him by the 29th and pop the question.īut she doesn’t quite make it to Dublin: she finds herself in Dingle, Ireland due to inclement weather, and the only bartender/hotelier/cabbie in town is the arrogant Declan, who wants little to do with Anna but needs some quick cash. The Leap Year of the title is just a ruse, a meaningless plot device that is forgotten soon after it is introduced. It usually happens in racier material ( The Ugly Truth, What Happens in Vegas), but here’s a clean PG version, and I was similarly repulsed. The rom-com formula states that they have to hate each other first, then fall in love, but there’s this disturbing trend in recent films: the writers take things too far with obnoxious stereotyping, and the audience ends up hating both the characters. The other character, Declan, is played by Matthew Goode, who has put some good performances into some good movies he’s the macho male asshole here, buried beneath a scruffy I-don’t-give-a-shit beard and a bad news attitude. It takes a lot of work for Adams to become a helpless, shrill, annoying stereotypical city girl, but she gets there. One of those characters, Anna Brady, is played by the always enchanting Amy Adams.
#Leap year movie movie#
Not from me I hated the characters in this movie and I hated spending 90 minutes with them. It's the worst thing to come out of Ireland since The Cranberries.Fish-out-of-water, opposites-attract, throw some more stale clichés in the pot and you’ve got the wretched Leap Year, which is inexplicably getting a pass in some corners. said: "While watching "Leap Year," I swear I could hear the Irish countryside quietly weeping as it witnessed Goode and Adams slog through the film's succession of trite misadventures, the talented actors straining in vain to manufacture some semblance of romantic chemistry as an assortment of jolly "Waking Ned Devine" types futilely spurred them on. It’s here that hope finally arises that Anna will come to her senses and live up to the title by taking a header off the cliff in an effort to atone for her sins of being the stupidest idiot alive and leading the audience through 90 minutes of her drudgery-inducing hunt for someone, anyone - maybe even any thing - to marry her." OK Magazine wrote: "There is one moment of hope in "Leap Year," and it comes near the end of the movie, after the idiot lead character, Anna (Amy Adams) faces a severe disappointment in a small Irish town, then high-tails it to a jagged cliff. According to the film’s geography, we now think Dingle is located near Swansea.” Amy Adams travels to Ireland to propose to her fiancé but gets sidetracked by a rugged Irish barman (Englishman Matthew Goode) and subnormal natives who actually use the phrase ‘Top of the morning’. Anand (Hilary & Jackie, When Did You Last See Your Father?) Tucker’s risible film offers the self-loathing Irish consumer a unique opportunity to experience a backward nation of drunken, superstitious morons, no infrastructure and cutesy-pie John Hinde landscapes.
Remember the crap Ireland from movies of yesteryear? Well, crap Ireland is back on screen and crapper than ever. The review from Hot Press, a Dublin-based music magazine, says it all: “As if economic downturn and the confederacy of dunces at the top weren’t bad enough, Leap Year revives some horrors of old. Read More: Riverdance animated movie coming soonĪccording to IMBD, the 2010 movie has a rating of 6.4 out of ten but on RottenTomatoes (critic’s opinions are collated) it achieved a desperate 23 percent from critics and 47 percent from audiences.
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