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Subtle charms aren't enough to rescue 'The Baxter'

By BOB TOWNSEND
The Atlanta Journal-Constitution

"The Baxter" is a romantic screwball comedy spoof that's too clever and too wimpy for its own good.

Written and directed by TV sketch comedian Michael Showalter (of the Comedy Central show "Stella"), who also stars as the title character, the movie's central conceit is an overwrought turnabout on the odd man out. According to Showalter, a Baxter is the hapless nice guy who doesn't get the girl. He's Ralph Bellamy, who lost "His Girl Friday" to Cary Grant. Or Bill Pullman, who Meg Ryan left behind to be with Tom Hanks in "Sleepless In Seattle."

IFC Films

'The Baxter'

C+

The verdict: This wedding crash is more quirky than funny.

Director: Michael Showalter
Starring: Michael Showalter, Michelle Williams, Elizabeth Banks, Justin Theroux, Peter Dinklage
Run time: 91 minutes
Release date: August 26, 2005
Rating: PG-13 for brief sexual humor and some drug refernces.

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What happens to that other guy, wonders Showalter.

His answer is the story of milquetoast accountant Elliot Sherman. Dramatically dumped at the altar (� la "The Graduate") as the movie opens, Showalter's Elliot meekly backpedals to show us exactly how he came to find himself in such a humiliating situation. Flash back to a year and a half earlier when, one Monday morning, Elliot simultaneously meets his soul mate, adorably dorky office temp Cecil Mills (Michelle Williams), and his bride-to-be, vapidly glam fashion editor Caroline Swann (Elizabeth Banks).

Elliot, Cecil and Caroline quickly spin into a bizarre love triangle, complicated by the fact that Cecil has an absentee boyfriend. But things really escalate when Bradley (Justin Theroux), Caroline's rich and perfect ex-beau, suddenly shows up. And Elliot is relegated to watching from the sidelines as the macho but sensitive Brad-man effortlessly scores with everything from break-dancing to quoting Keats.

"The Baxter" has many subtle charms. It's refreshingly low-key and sweet at a time when many more movies are relentlessly high-pitched and harsh. Mostly set in the picturesque parts of Brooklyn, its purposefully prim, sidelong depictions of the urban bourgeoisie at times recall the giddily offbeat films of Whit Stillman. And several of the performances are really good. Williams, looking a lot like a young Shirley MacLaine, is perfectly shiny and huggable, while Theroux steals most scenes, exuding well-tempered male energy in the face of Showalter's listless goofiness.

In the end, that's the big problem with the "The Baxter." While trying really hard to make Elliot a lovable loser, Showalter too often just renders him shrill and annoying. And that makes it difficult to figure out why a blue-blood vixen or a sexy nerd or anyone else would want to take up with him.