Film Review: The Baxter

By Patricia Lamkin

Michael Showalter's wholesome but choppy tribute to the screwball comedies of the 30's and 40's, tells the untold story of the guy who is always left at the altar; a guy Showalter calls "the Baxter."


Play-it-safe tax accountant Elliot Sherman has a long history of losing the girl to another guy. When Elliot finally becomes engaged to his dream-woman, magazine editor Caroline Swann (Elizabeth Banks), her hunky high-school sweetheart Bradley Lake (Justin Theroux) shows up triggering Elliots old Baxter fears. Meanwhile Elliots new temp, the adorable Cecil Mills (Michelle Williams), helps her boss examine his past Baxter patterns, and makes Elliot wonder who his dream-woman really is.

Showalter, who wrote, directed and played the lead in the Baxter, initially didn't want to do the latter two. "I wanted to be realistic," he said. But producers Galt Niederhoffer, Daniele Taplin Lundberg and Celine Rattray were very persuasive. "They saw how personal this film was to me... Convincing me to direct was easy. Playing Elliot was more of a struggle. I had envisioned someone a bit better looking in the part."

But Showalter's look was far less an issue than his acting style, which feels like the stagy sketch comedy for which he is known. Despite his identification with the role, Showalter offers up plenty of superficial facial expressions. And he repeatedly misses comic moments: the opening with Elliot left at the altar, staring blankly unfortunately sets the tone for his entire performance. He was right, he is clearly more competent in the roles of writer/director.

While Showalter may be lacking acting chops, his supporting cast help carry the film. Michelle Williams and Justin Theroux are both brilliant, with genuine performances. Williams has a certain Clara Bow/Audrey Hepburn je ne sais quoi. Theroux is a master of the comic cry - not since Meg Ryan or Holly Hunter have I seen this done so well, let alone by a man. Peter Dinklage is drop dead funny as the gay wedding planner Benson Hedges.

Though the structure over-relies on flashbacks and narration, the film has a certain charm and innocence that is sorely lacking in most of the crude, violent fair in theatres today.   B-