Genie Review: A Wasted Wish

The lighthearted fantasy-comedy “Genie” brings together an intriguing premise and a star-studded cast, but doesn’t quite pull off the feel-good family holiday flick it’s aiming for. With screenwriter Richard Curtis, the writer behind rom-com classics like “Love Actually,” teaming up with comedy superstar Melissa McCarthy as an eccentric wish-granting genie, it seems like a film ripe with potential. However, according to most reviews, the pieces don’t fully come together.

The movie follows Bernard (Paapa Essiedu), an overworked father who accidentally summons a magical genie named Flora (McCarthy) from an old lamp. With Flora’s wish-granting powers in tow, Bernard sees a chance to patch up his strained marriage and reconnect with his daughter. What ensues is a predictable fish-out-of-water comedy as Flora experiences modern-day New York City for the first time in 2,000 years.

While the film nails the holiday aesthetics and McCarthy delivers her signature brand of wacky comedy, critics note a lack of narrative focus. Rather than develop a coherent story or meaningful themes around family and relationships, the movie opts for cheap laughs through a series of genie gags at the expense of heart. And McCarthy’s talents feel underutilized. As multiple reviewers point out, it fails to hit the sweet spot of classics like “Elf” that balance earnest family moments with hilarity.

So while on paper, “Genie” showed promise as a whimsical and funny holiday crowd-pleaser, it doesn’t all come together into the uplifting package one might expect. The ingredients were there, but the magic was missing.

A Comedy of Errors with a Magical Twist

The story follows Bernard, an assistant at a prestigious New York auction house who puts his job above spending time with his family. In the opening scenes, Bernard misses his daughter Eve’s 8th birthday party after getting tied up at work to please his vindictive boss. This proves to be the final straw for his frustrated wife Julie, who moves out and initiates a trial separation, devastating Bernard.

Now alone as the holidays approach, Bernard attempts to give Eve an ornate jewelry box as a makeshift birthday gift. He dusts off the neglected box and opens it, inadvertently unleashing an eccentric, wish-granting genie named Flora, played by Melissa McCarthy. After Bernard makes a few skeptical wishes that Flora outlandishly fulfills like producing a camel in his apartment, he realizes her powers are genuine.

With his marriage crumbling, Bernard sees Flora as the perfect solution for fixing his mistakes and regaining his wife’s trust so they can reunite by Christmas. However, he soon learns there are “rules” around Flora’s wish-granting abilities – they can’t force people to fall in love or travel through time. So winning back Julie will take more than a snap of the fingers. Nonetheless, with Flora’s magic now at his disposal along with her comical attempts to adapt to modern human life, Bernard sets out to create the perfect set of circumstances to repair his relationship through wishes instead of merely fixing the core issues at play.

What follows is a series of lighthearted, predictable hijinks as Flora experiences NYC while helping grant Bernard’s relationship-saving wishes. From misinterpreting workout equipment as medieval torture devices to landing Bernard in jail for accidental art theft when a wish goes awry, Flora’s magic stirs up situational comedy without providing real depth. The broader conflict remains whether, with a bit of sorcery and self-improvement, Bernard can still heal his damaged marriage by Christmas Eve and give his daughter the holiday her parents’ separation threatens to ruin.

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Mixed Results from a Talented Cast

On paper, “Genie” boasts an impressive ensemble cast that made the film seem promising. However, according to most reviews, the characters are often failed by thin writing and directing that doesn’t allow the talented performers to fully shine.

British actor Paapa Essiedu leads the film as Bernard, a sweet-natured father and husband working for a posh New York auction house. Overworked and simultaneously underappreciated both at work and at home, Bernard serves as an accessible everyman protagonist. Essiedu brings amiability and humor to the role, painting Bernard as well-meaning but fundamentally clueless about balancing his priorities. When we meet Bernard, he’s just endangered his marriage by missing his daughter’s birthday for a work event. Essiedu plays Bernard with endearing pathos, making his quest to regain his wife’s trust by Christmas compelling.

However, as the film progresses, Essiedu struggles to elevate weak writing. Reviews suggest Bernard changes tack abruptly thanks to the magic newly in his life rather than showing organic growth. And the screenplay sidelines the very relatable family dynamics at the story’s heart for slapstick. While Essiedu offers a grounded performance, his character changes motivations too rapidly to feel fully formed.

Of course, Melissa McCarthy snags the most dynamic role as the wacky, fish-out-of-water magical genie Flora. McCarthy has impeccable comedic instincts and timing, both of which are on full display here. Her bold physical comedy and contagious energy recalls her finest performances. However, many reviewers felt Flora’s antics grow repetitive as the film continues without enough substance behind them. The broader narrative does McCarthy no favors either by failing to give her character any real depth or clear motivations. Still, McCarthy remains a consistent bright spot.

The supporting cast including Alan Cumming as Bernard’s tyrannical boss and Denisée Benton as his estranged wife give capable but thin performances likely due more to underwriting than their skills. Reviews suggest no role beyond McCarthy’s gets enough attention to make much impact. And the cast’s charm can’t compensate for what many reviewers called an unfocused, haphazard script.

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Misguided Direction and Writing Undercut Potential

Considering “Genie’s” creative talent both behind and in front of the camera, most reviews suggest the elements for an enjoyable holiday comedy are present but under-utilized. Director Sam Boyd and acclaimed screenwriter Richard Curtis fail to unify the promising ingredients into a cohesive or substantive whole.

Boyd’s direction opts for broad comedy over nuance. Reviewers cite repetitive, superficial gags like McCarthy’s genie misunderstanding modern innovations as indicative of superficial direction. The frequent flashes of whimsy also undermine building meaningful stakes around Bernard’s central goal to regain his wife’s trust. Boyd seems more interested in landing episodic laughs than developing characters. Reviews praise the film’s holiday aesthetic and cheerful New York City backdrop as visually effective, if unoriginal. But most critics claim flat scene staging and an absence of tonal variety ultimately make the direction forgettable.

The script shoulders much of the blame as well, considering Curtis’ proven talents for clever, heartfelt comedy. Critics attack Genie’s screenplay for formulaic plotting filled with contrivances, especially regarding the inconsistent “rules” around Flora’s magic. More frustratingly, it introduces a compelling marital conflict then largely neglects it. Instead of using Flora’s magic to thoughtfully develop Bernard, the formulaic writing utilizes it for a thin wish-fulfillment device enabling superficial self-improvement. The script wastes opportunities to inject magic into emotional dynamics for cheap laughs. Curtis pens some charming moments between Bernard and his daughter. But rather than emphasize those relationship-building scenes, the story keeps sidelining them.

Where Boyd’s direction lacks subtlety, Curtis’ script reportedly lacks coherence. The fantasy itself springs organically from McCarthy’s engaging performance as Flora. But incorporating those elements into Bernard’s journey proves clumsy. The pieces for a balanced holiday confection mixing realism with whimsy seem present, but directionless leadership behind the scenes apparently stifles potential. Reviewers argue nearly every production element from performances to aesthetic works well individually. It’s in unifying them that “Genie” falls frustratingly short of a worthwhile magical experience.

Missed Opportunities for Heart and Meaning

“Genie” sets out to deliver a family-friendly tone that blends silly fantasy with earnest holiday sentiment. And while it nails the whimsy, reviews suggest the film falls short when reaching for meaningful themes or emotion. The inconsistency leaves a hollow viewing experience tonally.

The movie clearly intends a good-natured, PG-rated escapade suitable for all ages, particularly during the Christmas season. Visually and musically, it hits all the hallmarks from snowy backdrops to cheerful carolers. Melissa McCarthy’s bold comedic style as Flora coupled with the fish-out-of-water genie premise bring plenty of playful fantasy. And a story centered around father Bernard trying to restore his fractured home certainly has heartwarming potential.

Yet multiple critics assert that feel-good potential goes largely unfulfilled. Once the genie is unleashed, the narrative supposedly abandons building realistic family bonds for cheap laughs. An opportunity to thoughtfully examine Bernard’s work-life imbalance gives way to contrived sequences like courtroom scenes over accidental art theft due to magical hijinks. The script reaches for tear-jerking moments in the third act regarding Bernard’s daughter Eve, but they come across as emotionally manipulative rather than earned.

While McCarthy’s committed whimsy fits the intended tone, reviewers argue the human story meant to ground that wackiness gets lost. Instead of using Flora’s magic to uplift the characters and confront Bernard’s flaws as a distracted parent, it morphs into a device for slapstick distractions. The inconsistent script apparently forgets its initial themes of relative realism to skew repeatedly into simplistic fantasy.

That uneven balance undercuts establishing a sustainable tone. The movie introduces components prime for a heartwarming blended tone that speaks to families. But according to many critics, inadequate writing and direction fail to unify those pieces into a satisfying tonal core that earns bigger emotional or thematic payoffs. The foundation doesn’t adequately support itsaspirations.

Well-Meaning but Underwhelming Holiday Fare

According to most reviews, “Genie” lacks the narrative focus and sharp writing to truly deliver on its feel-good holiday potential. But for families seeking a gentle, magical escape, it offers harmless comfort food. Just don’t expect much depth.

The film’s broad comedy and fanciful premise suggest young viewers are the target audience. Critics agree parents seeking a family-viewing distraction this Christmas could do worse as McCarthy and the cast bring cheerful energy. Yet more discerning audiences or fans of classics like “Elf” expecting tightly-constructed humor may leave disappointed.

As multiple reviewers observe, the story loses sight of the relatable family dynamics it establishes by fixating on genie gags to dim returns. The human relationships get overshadowed by an over-reliance on fish-out-of-water magical hijinks that grow one-note. Still, the film delivers easy crowd-pleasing moments, even if they seem formulaic.

So for families seeking a gentle background holiday viewing experience, “Genie” should sufficiently entertain kids while offering adults temporary, undemanding escape. But anyone looking for a truly cohesive comedy that balances earnestness with wit may find the film’s flaws too substantive to overlook. It’s less a new holiday classic than a benign seasonal distraction according to critics.

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