Review: 'What Men Want' is to avoid this blunder of a film

Not to kick off this review with a spoiler alert, but after seeing "What Men Want" the answer to what men want is probably the same as what women want: Not to be ripped off by yet another dubious rom-com like this.

Taraji P. Henson tries a little too hard in a predictable, gender-switching remake of the Nancy Meyers-led 2000 romantic comedy "What Women Want." This time, a woman unlocks the power to read men's minds. The premise has potential but "What Men Want " is not funny enough, it's poorly edited and blunt when it could have been sharp.

Henson plays Ali, a hard-elbowing, high-powered sports agent who is bitter and brash — "OK, Bridezilla, take a Xanax," she tells one of her three best friends. To a co-worker, she says: "I'm going to need you to calm down, baby man-child." There's a weird '90s feel to the look and dialogue of this film, accentuated by a dusty soundtrack that features hits by TLC, Bell Biv DeVoe, 2 Live Crew, En Vogue and Salt-N-Pepa.

This image released by Paramount Pictures shows Taraji P. Henson in a scene from "What Men Want." (Jess MiglioParamount Pictures via AP)

Ali is repeatedly passed up for promotion at her smarmy, all-male firm, which seems to leak testosterone in buckets. "You don't connect well with men," she is told by the boss. To make partner, Ali vows to land the biggest sports target of the season: The No. 1 NBA draft pick. Along the way, she somehow bangs her head and then can hear the inner thoughts of any man nearby. That happens about 30 minutes in, which is an eternity of set-up, including a flabby and pointless scene at a club.

And what are men secretly thinking about? According to this film, it is fears of being fat, feeling lame, worry about bodily functions, trying not to completely geek out about little things, a near-universal adoration of arena skyboxes, mundane stuff like lost keys, and the occasional horrific X-rated bluntness.

If you expected director Adam Shankman and writers Tina Gordon, Peter Huyck and Alex Gregory to find rich material to discuss male privilege in these #MeToo days, think again. Men actually come off not so bad here. The women, though, end up worse: There's a scene with all of Ali's best friends wrestling during a horrific, weave-yanking cat fight at a church that's the nadir of filmmaking in 2019.

This image released by Paramount Pictures shows Erykah Badu, left, and Taraji P. Henson in a scene from "What Men Want." (Jess MiglioParamount Pictures via AP)

Ali learns to use nuggets of insight into co-workers' minds to gain an advantage and falls for a boyfriend whose inner thoughts seem to be pure. But Ali also learns that it's not what's in men's minds that really counts. It's what's in their HEARTS. And winning, if you're a nasty person, DOESN'T matter. Cue the montage of her fixing all the things she just did wrong. (Just not this film.)

Henson does as best she can with this material, attempting Lucille Ball-level physical comedy. But she's laboring and often overshadowed by the one unpredictable spark in the film — provided by Erykah Badu. The singer-songwriter is in rare form here as an off-kilter fortune teller, shooting electricity in every scene, while small roles by Tracy Morgan and Pete Davidson are oddly flat. (If you're still bored, there's always playing Cameo Bingo: Look for appearances by sports figures Mark Cuban, Shaquille O'Neal, Lisa Leslie, Grant Hill and Karl-Anthony Towns.)

The script is uneven and heavy, with some of the only jokes coming from Badu and a few movie references to "Black Panther" and "Get Out." Mostly, this is a film that still thinks people having a hard time navigating a beaded curtain is funny and that surprise S&M sex is hysterical.

Another thing that seems forced in "What Men Want" is the tremendous amount of alcohol sucked down. There's day-drinking, blackout nights and cocktails at work. The cast drink margaritas, whiskey neat, wine, beer and vodka and cranberry. Toward the end, it seems like every scene had some booze, a lazy way to create mischief. But, come to think of it, if alcohol was offered to the audience, this whiff of a film would be better received.

"What Men Want," a Paramount Pictures release, is rated R for "for language and sexual content throughout, and some drug material." Running time: 117 minutes. One star out of four.

MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

Online: https://www.paramount.com/movies/what-men-want

Mark Kennedy is at http://twitter.com/KennedyTwits

SEOUL, South Korea (AP) — Ahn Sung-ki, one of South Korean cinema’s biggest stars whose prolific 60-year career and positive, gentle public image earned him the nickname “The Nation’s Actor,” died on Monday. He was 74.

The death of Ahn, who had been fighting blood cancer for years, was announced by his agency, the Artist Company, and the Seoul-based Soonchunhyang University Hospital.

Born to a filmmaker in the southeastern city of Daegu in 1952, Ahn made his debut as a child actor in the movie “The Twilight Train” in 1957. He subsequently appeared in about 70 movies as a child actor before he left the film industry to live an ordinary life.

In 1970, Ahn entered Seoul’s Hankuk University of Foreign Studies as a Vietnamese major. Ahn said he graduated with top honors but failed to land jobs at big companies, who likely saw his Vietnamese major largely useless after a communist victory in the Vietnam War in 1975.

After spending a few years unemployed, Ahn returned to the film industry in 1977 believing he could still excel in acting. In 1980, he rose to fame for his lead role in Lee Jang-ho’s “Good, Windy Days,” a hit coming-of-age movie about the struggle of working-class men from rural areas during the country’s rapid rise. Ahn won the best new actor award in the prestigious Grand Bell Awards, the Korean version of the Academy Awards.

He later starred in a series of highly successful and critically acclaimed movies, sweeping best actor awards and becoming arguably the country’s most popular actor in much of the 1980-90s.

Some of his memorable roles included a Buddhist monk in 1981’s “Mandara,” a beggar in 1984’s “Whale Hunting,” a Vietnam War veteran-turned-novelist in 1992’s “White Badge,” a corrupt police officer in 1993’s “Two Cops,” a murderer in 1999’s “No Where To Hide,” a special forces trainer in 2003’s “Silmido” and a devoted celebrity manager in 2006’s “Radio Star.”

Ahn had collected more than 20 trophies in major movie awards in South Korea, including winning the Grand Bell Awards for best actor five times, an achievement no other South Korean actors have matched yet.

Ahn built up an image as a humble, trustworthy and family-oriented celebrity who avoided major scandals and maintained a quiet, stable personal life. Past public surveys chose Ahn as South Korea’s most beloved actor and deserving of the nickname “The Nation’s Actor.”

In interviews with local media, Ahn couldn’t choose what his favorite movie was, but said that his role as a dedicated, hardworking manger for a washed-up rock singer played by Park Jung-hoon resembled himself in real life the most.

FILE - South Korean actor Ahn Sung-ki smiles for a photo on the red carpet at the 56th Daejong Film Awards ceremony in Seoul, South Korea, June 3, 2020. (AP Photo/Ahn Young-joon, File)

FILE - South Korean actor Ahn Sung-ki attends an event as part of the 11th Pusan International Film Festival in Busan, South Korea, Oct. 13, 2006. (AP Photo/Kin Cheung, File)