Well... it’s pleasant, isn’t it? It’s nice. It’s a crumpet, a Sunday afternoon, a caravan holiday. ‘The Perfect Date’ is, in other words, agreeable enough but nothing to get excited about, in part because it seems like treading water after the progression of the last few Hanover films. It does what it does pretty well, don’t get me wrong. It’s just not my cup of tea. A cup of tea, that’d be nice. Pleasant.
The story of a widowed father who finds himself counselled by his kids in the run-up to his first date in years, the movie benefits greatly from its cast and the chemistry they generate. As Tom, Anthony O’Callaghan is a likeable sort, and does a good job of getting across the late stage of mourning his character’s going through. He has a natural delivery and a breezy personality, and serves as a personable central figure. Emma-Jane Portch, as the ever-so-slightly pushy teacher who instigates the date, is also an engaging presence.
The movie works best during the interplay between the kids and their dad. Eleanor Roberts, as Sally, is a believable older sister with responsibility on her shoulders, and her relationship with Tom rings true. My favourite of the younger cast members is Ellie Taylor-Roberts as Jess, the middle sister with a funny collection of reaction shots. The opening breakfast scene, in which the family banter back and forth, is probably the best, and certainly contains the film’s funniest moment (Tom’s reaction to a certain awkward word).
As with Katie’s Mission and so on, the script tells the story with a minimum of fat, and structurally everything fits in a satisfying way. Editing-wise there’s a bit of dead air here and there, and the score sounds like Thomas Newman plays Last Of The Summer Wine. The lighting’s sort of, um, peach coloured. The, erm, house is, eh, big. Ah, gawd, I’m struggling here. Charming in a bland way, enjoyable in a twee way, The Perfect Date is all right. If you like the kind of film this is, you’ll probably like it.
- Will Griffin
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