In recent years, the romantic comedy has taken a sabbatical, at least from the big screen (it seems to have adopted temporary legal-resident status on Netflix). Yet it’s clear that one can point to…
and Bryony Kimmings , so it would seem to have the potential to be the kind of witty sparkling bauble we prize the genre for. In theory, the film has a number of things going for it — a spun-sugar atmosphere of confectionary longing, and the fact that it’s built around the songs of George Michael, an artist who should really be the subject of a jukebox musical , because his songs, even if you already love them, have a way of growing with time.
And yet…as much as we go into “Last Christmas” eager to see a nicely wrapped package of acerbic fun, the film falls short of that. It’s not so much clever, toasty, and affectionate as it is the faux version of those things. It’s twee, it’s precious, it’s forced. And it’s light on true romance, maybe because the movie itself is a little too in love with itself.
Tom is a dapper dude, so old-fashioned in spirit that he seems to dance when he walks. The two keep running into each other, and he turns out to be the kind of free-spirited, low-maintenance knight — he doesn’t carry a cell phone! he volunteers in a homeless shelter! — who’s like a parody of rom-com gallantry.
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