Mannequin

Silly yet basically watchable, Mannequin details the relationship that unfolds between a struggling artist (Andrew McCarthy’s Jonathan) and a mannequin (Kim Cattrall’s Emmy) that comes to life at night. Filmmaker Michael Gottlieb has infused Mannequin with a pervasively lighthearted sensibility that is, at times, a little on the oppressive side, as the filmmaker often seems to be straining to cultivate a bubbly, effervescent sort of vibe – which, when coupled with a less-than-substantial narrative, paves the way for a hit-and-miss midsection that’s overflowing with filler. There’s little doubt, then, that Mannequin benefits substantially from the stars’ appealing, charismatic work, with the palpable chemistry between McCarthy and Cattrall’s respective characters compensating for the more overtly ineffective stretches here. (It’s clear, too, that the colorful periphery cast provides able support around the margins, with James Spader’s scenery-chewing turn as the movie’s over-the-top villain certainly an obvious highlight.) The feel-good finale ultimately ensures that Mannequin ends on a predictably upbeat note, which confirms its place as a high-concept comedy that just barely gets the job done.

**1/2 out of ****

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