Liam Trimon the critical reception for New Year’s Eve…
What did you get up to on New Year’s Eve? Fireworks are standard fare on the 31st of December and I bet you at least heard a few, even if you were trying to avoid the garish explosions of tinsel in the sky. Booze is another requirement of the occasion; so that even those staying in alone to watch Big Ben on the telly end up cracking open the wine. Talking of Big Ben, there’s the countdown, which for 60 seconds binds us all together in dreary and slurred chanting. And of course there’s the kiss, or lack of, which makes or breaks your evening and sets the tone for the year ahead.
How many of you went to see New Year’s Eve on New Year’s Eve? I’d be surprised if any of you did and even more shocked if you’d heard some snippet of positive press to tempt you to the theatre. A carbon copy of his previous ensemble effort Valentine’s Day, Pretty Woman director Garry Marshall’s film follows the intersecting lives of a clutch of Hollywood’s biggest stars in New York City. It’s packed full of product placement, cheesy messages of hope and not a lot else, which has led to a unanimous selection of one star reviews relegating it to the lower leagues at the box office.
Critical legend Roger Ebert calls the film a “dreary plod” and bemoans its shameless commercialization, which even goes so far as to advertise other films, namely Sherlock Holmes: A Game of Shadows, in the final shot. Robbie Collin describes the “utter ghastliness” of seeing New Year’s Eve, whilst Peter Bradshaw rants that post screening his colleagues had to wrestle a razor from his throat. On Rotten Tomatoes it appears to have done well to muster its measly 7% rating.
I don’t disagree with the charges levelled against New Year’s Eve. The big names on show, from Robert De Niro to Katherine Heigl, are clearly on uninterested autopilot. Zac Efron’s plotline seems to exist purely to showcase the wonders of New York to the world and suggest that life is better there, regardless of income or background. The dialogue is atrociously bad and the whole concept painfully predictable. New Year’s Eve is guilty as charged. But Xan Brooks of the Guardian and others have dared to label New Year’s Eve the worst film ever made.
Here I do disagree. I saw New Year’s Eve earlier this week with subterranean expectations. I emerged feeling confused and pleasantly surprised. Let me be clear, I’m absolutely not saying that New Year’s Eve is a good film in any way, shape or form. It is undoubtedly utter rubbish. But whilst it is the worst kind of junk food, sensibly plastered with serious health warnings, it can also be strangely satisfying. New Year’s Eve made me feel something. It tapped into personal memories of mine to provoke an emotional response.
This does not mean there is the slightest sprinkling of quality in the film and I’m aware that I’ve been duped into sentimentality by a money making juggernaut. Some might say I should have resisted in order to combat the disgusting Hollywood culture of our time. I feel just as passionately as many of this country’s finest critics who have slammed the film that new voices ought to be heard in cinema, as opposed to this formulaic soup designed to generate dollar signs.
However I think critics that lazily label New Year’s Eve as the worst film ever are being dishonest. Some may genuinely have never disliked a film quite as much. Others must surely be snobbishly concealing their own emotional reactions or at least remaining ignorant of their audience’s views. Yes point out a film’s flaws, yes make the case for more worthwhile productions in future. But do not take a blinkered, negative view for fear of raising your head above the parapet and admitting that yes, actually, I did like something about New Year’s Eve.
Liam Trim (follow me on Twitter)
Originally published January 8, 2012. Updated April 10, 2018.
