Wednesday, October 25, 2017

Walk a Mile in my Prada’s (US 2011)




The Gist: 
An obnoxious homophobe and a gay man switch sexual orientations due to “christmas magic,” teaching the former straight man a much needed lesson about not being an ass, and the former gay man an unneeded lesson about love. Will they be able to change back before the straight dude gets married or will the change be permanent? Why should the audience care?

Comments:
The movie is terrible, almost painful to watch at times. While it has some lower budget movie issues, the real problem is with the plot and how it’s handled. 

In order for “switching places” stories to work there needs to be a balance, a sense of symmetry between the “lessons learned,” wherein the switched people discover sympathy for the hardships the other person faces from life. 

There is no symmetry here. Straight dude was a homophobic asshole. Being “gay” for a few days teaches him to release the hate and be a decent human being. 

A symmetrical story would require the gay dude to be an equally massive jerk who is shocked to discover that it’s okay to be straight. A ludicrous lesson, so instead he finds out he loves his boyfriend, which he already knew. Because there's nothing to his story he only pops up occasionally in the movie for dumb pointless jokes about straight men. 

Dumb pointless jokes being another annoying thing about the movie. That switching orientations doesn’t merely mean being attracted to a different sex but rather fulfilling outdated stereotypes. Presumably jokes where the punch line is that straight men drink beer and love to leer at women's breasts, while gay men drink cosmos and know how to cook, were meant to be funny. They aren't. 

Despite whatever good intentions the creators may have had, the result is a "gay" movie that feels somewhat homophobic and insulting to the audience. 

Women:
Yes

People of color:
Yes

Gratuitous nudity:
Sort of 


  • Director: Joey Sylvester
  • Writer: Rick Karatas (aka Rick Sudi Karatas)
  • Actors: Nathaniel Marston, Tom Archdeacon, Tom Arnold
  • 87 minutes
  • IMDB

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