I will admit it: I have a soft spot for Canadian cinema. It is always good to see some of the cities around the nation playing themselves rather than taking on the guise of any number of world locations that are more expensive to film in. Directed and written by James A. Woods and Nicolas Wright, French Girl is the latest film to put Canada in the spotlight, this time Quebec City. Even when looking past the national pride, there is enough in this silly rom-com to make it worth a watch, even if just at home on the couch.
Starring Zach Braff, Vanessa Hudgens, and Evelyne Brochu, French Girl is a paint-by-the-numbers meet-the-parents-style flick that throws some twists into the mix, even if they ultimately feel shallow by the end of things. Braff stars as the hopeless romantic Gordon Kinski as he navigates meeting his partner’s parents in a fish-out-of-water tale that we have all seen before. Throwing a wrench in the gears is a ‘somewhat’ progressive love triangle involving his girlfriend Sophie Tremblay (Brochu) and her ex, celebrity chef Ruby Collins (Hudgens), as she looks to make a name for herself at one of the most famous locations in all of Canada.
This is a story we have all seen before, even if it does though a bi-sexual twist into the mix, and the story plays out as you would expect. Braff apparently forgets how to be a human as he bumbles his way around Sophie’s family. From mishaps with drugs and random slapstick comedy to drunken shenanigans, no trope is left unexplored as Braff makes an utter fool out of himself in any scene he is given the opportunity.
If there is a way to push Sophie and her family away, Gordon finds it, so much so it feels like it was beating a very dead horse as we crash headfirst into the final act, yet strangely enough, it was Vanessa Hudgens who managed to be more of a cartoon, even if Braff tries his darndest to one-up everyone he is in a scene with.
Yet, Hudgens‘s Ruby Collins is the one-note villain we all expect with this sort of movie, doing everything she can to be as duplicitous as possible, so much so it became ridiculous no other character saw through the nonsense with most still idolizing her until the eventual telegraphed full heel turn in the final act. Yet even after saying all of that, I enjoyed something about this mess of a film.
French Girl‘s strength lies in its unique concept and setting. By transporting the classic love triangle trope to the charming backdrop of Quebec, Woods and Wright infuse the story with fresh energy. The culture clash between the American Gordon, and Sophie’s French-speaking family provides plenty of chuckles while also highlighting the importance of tradition and family in Quebecois culture — and some underground mixed martial arts between family for good measure.
Despite his bumbling and scene-stealing nature, Braff shines as the lovable yet out-of-his-depth Gordon, bringing his signature awkward charm to the role that, while annoying at times, fits the character. His attempts to win over Sophie’s hard-to-impress relatives, including learning French and participating in local customs, are both cringe-inducing and endearing. Brochu’s Sophie is a well-rounded character, torn between her love for Gordon and the allure of a dream job alongside her ex, and despite many of her actions taking a back seat to Gordon, she manages to be one of the standout roles from the film, excluding a charm and confidence that often is ignored in this type of trope-filled story.
“From cozy cafes to grand chateaus, French Girl serves as a love letter to the province’s capital…”
I would also be remised to not touch on William Fichtner as Gordon’s dad, Peter Kinsky, a bohemian romance novelist who honestly has some of the best lines in the entire film; my only complaint when it comes to his role is we did not get more of him. If they made a sequel all about his character doing anything, I would be there from day one.
Visually, French Girl is the essence of a mixed bag, managing to show Quebec better than many commercials for the province while still feeling a bit flat with the composition and overall look. From cozy cafes to grand chateaus, French Girl serves as a love letter to the province’s capital, so much so that the scenes indoors or in kitchens are stark and bland in comparison.
There was so much more I would have loved to see explored within the culinary backdrop, but many of the scenes feel more like set dressing, there to set the scene but never put on full display, leaving what could have been a unique aspect falling flat for most of the film’s runtime.
While the rom-com formula is familiar, with countless films touching on this formula, French Girl manages to subvert expectations in a few ways that make it feel fresh enough to justify its existence. Sophie and Ruby are both successful in their own right, and their relationship is treated with the respect and nuance it deserves. The film’s exploration of past loves and the complexities of moving on adds a layer of depth to the otherwise lighthearted story, showing the struggle to find one’s place when torn between worlds.
French Girl is a charming yet flawed addition to the romantic comedy genre. With its talented cast, picturesque setting, and a much-needed twist on a classic trope, the film is sure to leave audiences with a smile on their faces and a newfound appreciation for the beauty of Quebec. Woods and Wright have crafted a modern-day fairy tale that celebrates love, family, and the joy of new beginnings.
