The Fabulous Four is a photocopy of a photocopy.  If you think I’ve used that criticism before, it’s because I have.  However, the filmmakers behind this contrived Floridian comedy had no problem recycling other material, including their own stuff.  So, you know what they say – “when in Key West…”

The Fabulous Four unites a great cast (Susan Surandon, Megan Mullally, Sheryl Lee Ralph, Bette Midler), and squanders their talent for a freewheeling destination flick about rekindling relationships.  Centered around the wedding of their boisterously confident leader Marilyn (Midler), Alice and Kitty (Mullally, Ralph) arrange a secret mission to bring their favourite wallflower Lou (Surandon) along for the trip.  Lou’s appearance is set up as a surprise for the bride as well, considering Marilyn and Lou had a falling out over Lou’s boyfriend/Marilyn’s late husband.  The thin façade isn’t carried on for too long before the truth comes out and the two wayward friends decide to set aside their differences.  But fate can’t help to have a laugh when a new man enters the picture (Bruce Greenwood, almost unrecognizable with luscious locks).

Movies catered to older audiences, starring esteemed actors channelling a certain “loosey-goosey” element, have been amicable entertainment (the Book Club series), or embraced a more goofier side for the sake of inspiration (80 For Brady), or have been more character-driven (The Miracle Club).  While I haven’t been campaigning for these movies (with the exception of the first Book Club), they have a distinct goal in mind.  In the case of The Fabulous Four, I don’t know why it exists other than being a vacation for the cast and steady employment for the crew.

Merely having a stacked cast and expecting them to carry the story is not enough to sustain a feature-length film;  especially a film that feels patchy from the get-go.  The riffing between the leads lacks discipline and the shapeless script (written by Golden Arm screenwriters Ann Marie Allison and Jenna Milly) is missing distinct direction from filmmaker Jocelyn Moorhouse.  The Fabulous Four aimlessly flows along from set piece to set piece without much of an interest in what follows or much of a memory of what happened prior.  Midler and Ralph sing “I Can See Clearly Now” twice, but the sequences are executed in a way that suggests legitimate forgetfulness and neglect towards the narrative.

The Fabulous Four isn’t fun – it’s a flop.

**********

Do You Tweet? Follow These Tweeple:

Addison Wylie: @AddisonWylie