Recent college grad Annie Braddock (Scarlett Johansson) scraps plans to work in the business world in favor of playing nanny for wealthy Manhattan couple Mr. and Mrs. X (Paul Giamatti and Laura Linney). Approaching the gig like an anthropologist observing a foreign culture, Annie embarks on the typical single-girl-in-the-city journey toward self-discovery.
Big question: With a similar origin in the world of “chick lit,” can “The Nanny Diaries” duplicate the success of last summer’s New York-set “job from hell” hit “The Devil Wears Prada”?
Skip it: Johansson shows potential in her first shot at carrying a mainstream movie, but her earnest working class character is more likable than interesting. Despite the critical success they achieved on “American Splendor,” filmmakers Shari Springer Berman and Robert Pulcini prove to be an awkward fit for the material. Clever visual quirks like Annie imagining Park Avenue denizens as museum dioramas can’t disguise the underwhelming narrative.
Catch it: Don’t blame the actors. An impressive supporting cast backs Johansson, all well matched to their one-note characters. Beyond Linney and Giamatti’s fitfully amusing portraits of self-absorption, there’s maternal Donna Murphy, sassy Alicia Keys and hunky Chris Evans.
Bottom line: “The Nanny Diaries” is ultimately as shallow as the Upper East Side society it skewers, but more damaging is the lack of a truly dynamic star turn or romance that can turn these kind of movies into rainy day cable-TV staples.
Bonus: Linney and Giamatti previously co-starred in “The Truman Show,” but their roles prevented them from ever sharing the screen—Linney was Truman’s TV wife and Giamatti was a control room director.
Big question: With a similar origin in the world of “chick lit,” can “The Nanny Diaries” duplicate the success of last summer’s New York-set “job from hell” hit “The Devil Wears Prada”?
Skip it: Johansson shows potential in her first shot at carrying a mainstream movie, but her earnest working class character is more likable than interesting. Despite the critical success they achieved on “American Splendor,” filmmakers Shari Springer Berman and Robert Pulcini prove to be an awkward fit for the material. Clever visual quirks like Annie imagining Park Avenue denizens as museum dioramas can’t disguise the underwhelming narrative.
Catch it: Don’t blame the actors. An impressive supporting cast backs Johansson, all well matched to their one-note characters. Beyond Linney and Giamatti’s fitfully amusing portraits of self-absorption, there’s maternal Donna Murphy, sassy Alicia Keys and hunky Chris Evans.
Bottom line: “The Nanny Diaries” is ultimately as shallow as the Upper East Side society it skewers, but more damaging is the lack of a truly dynamic star turn or romance that can turn these kind of movies into rainy day cable-TV staples.
Bonus: Linney and Giamatti previously co-starred in “The Truman Show,” but their roles prevented them from ever sharing the screen—Linney was Truman’s TV wife and Giamatti was a control room director.
