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A rich businessman, Dylan McDermott, mistakenly believes that Matthew Perry, who is bidding on a $90 million restoration contract, is gay and asks him to keep tabs on his mistress, Neve Campbell. Perry, who is not gay, falls for Neve in a big way but she thinks he's gay. Written by
Tony Zackin <firstname.lastname@example.org>
The taxi cab Amy and Oscar take after leaving the restaurant (where they ate the tuna melt) changes from a newer model car they pulled over (and whose handle they broke), to an older boxier model in the cut scene with them driving away in the rain, then back to the same newer model they pulled over in the first place. See more »
[on being told he's been selected as gay man of the year]
I haven't done anything or anyone to deserve this.
See more »
A date movie that doesn't insult your intelligence
Typical Hollywood formula: guy meets girl, guy wants girl, but girl thinks guy is gay and he must maintain the charade or lose a job. In this case the guy in question is Oscar Novak (Matt Perry), who, with his business partner (Oliver Platt) is competing for a $90 million renovation project. To complicate matters, Charles, the guy in charge of assigning the project (Dylan McDermott), asks Oscar to shadow his mistress (Neve Campbell) and keep her away from any guys. Oscar doesn't realize why he's been chosen (Charles thinks he's gay) until it's too late. Of course it's only a matter of time before Oscar and Amy fall in love and chaos ensues.
Perry essentially does a rehash of his Chandler persona from "Friends", which makes Oscar a charming, neurotic klutz who makes little headway with women. Campbell's Amy is energetic as the independent life loving bohemian and her omnipresent grin and boundless optimism light up the screen (luckily there's no screaming). Platt, although uncharacteristically subdued, is hilarious as always and has some of the best lines in the film. Unfortunately, McDermott's portrayal of the self-absorbed- pretty-boy-Donald-Trump-wannabe is suprisingly lifeless and the only weak link in the film.
Tango is not groundbreaking cinema -the straight-guy-pretending-to-be-gay (and vices versa) routine has surely been done in every medium known to man. Unlike many of its predecessor's, however, it manages to be amusing without being offensive: Oscar doesn't try to "act" gay - he does not become a mincing, effeminate, fop with a lisp - rather he conducts himself as he always has. Although humor is the method of delivery, the movie manages to honestly convey the difficulty people must face when, for whatever reason, they are forced to live a lie. Oscar's "coming out" speech emphasizes this point, and manages to be poignant and educational without being melodramatic.
If you're looking for an entertaining date movie that doesn't require a box of Kleenex this movie amply fits the bill.
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