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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
The Other End of the Line
Standard rom-com with an Indian element
By
PETER HYMAN
|
November 4, 2008
THE OTHER END OF THE LINE
" alt="photo of 'THE OTHER END OF THE LINE'">
2.5
Stars
The
Other End of the Line
is your basic boy-meets-girl story, except that the boy (Jesse Metcalfe as an NYC ad man bored with his leggy blonde fashionista girlfriend) meets the girl (Shriya Saran as an engaged Indian pretending to be an unattached American) on a series of phone calls from her Mumbai-based customer-service center. Ah, the benefits of outsourcing. The two fall in love and attempt a blind date in San Francisco, and chaos ensues. This would be a standard rom-com were it not for the Indian element and 26-year-old Bollywood starlet Saran, who’s a pleasure to gaze upon, no matter what she’s doing. The most original scenes explore life at the foreign call center; that includes classes where prospects are taught to distinguish among C-list celebs and fast food, the currency they’ll need to connect with their American counterparts. But most of the film is devoted to a tale that feels all too familiar.
106 minutes | Suburbs only
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ARTICLES BY PETER HYMAN
WHITE LOSERS REJOICE: FLETCH CELEBRATES 25 YEARS
| June 03, 2010
This holiday weekend marks the 25th anniversary of Fletch , the uneven but wildly enduring 1985 Chevy Chase comedy about a wisecracking reporter embroiled in a potboiler mystery.
ROLE MODELS
| November 07, 2008
The movie, populated by improv/stand-up veterans in supporting roles, is more about its episodic parts than about the cinematic whole they yield.
THE OTHER END OF THE LINE
| November 04, 2008
It's your basic boy-meets-girl story, except that the boy meets the girl on a series of phone calls from her Mumbai-based customer-service center.
INTERVIEW: LUDIVINE SAGNIER
| August 26, 2008
As sultry French starlets go, 29-year-old Ludivine Sagnier is as advertised.
THE OTHER BOLEYN GIRL
| February 27, 2008
Though both lead actresses give admirable performances, they’re held captive (and kept clothed) by Peter Morgan’s flat script.
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PETER HYMAN
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