A top-drawer celebrity for years, Kat lives in a hermetically sealed world of assistants, enablers, limos and toadies of all makes and models. Having committed to diving down into such a deep hole of implausibility, director Kat Coiro and writers Harper Dill and John Rogers, working from Bobby Crosby’s 2010 graphic novel, are obliged to excavate whatever traces of human emotion they can from such an arbitrary and unlikely relationship. But getting the viewer to swallow this set-up of Kat feeling financially obliged to spontaneously marry a stranger and of a sensible fellow being shoe-horned into the arrangement seems madly beyond the pale. It’s somewhat doubtful that even as inspired a comic marital plot-meister as Preston Sturges could have convinced an audience to buy a premise this outrageous. Talk about greatness being thrust upon someone. But in a misguided variation of “the show must go on” (after all, an estimated 20 million people have paid good money to watch the music-filled extravaganza), Kat beckons onstage the first guy she lays eyes on, the milquetoasty Charlie Gilbert ( Owen Wilson), who’s brought his young daughter Lou (Chloe Coleman) to the show, and strong-arms him into televised matrimony this will be her fourth marriage. One might think that discovering such egregious misbehavior would be enough to cool Kat, or anyone, on the idea of marriage for at least a week or two. 'Strays': Universal Dates Will Ferrell, Jamie Foxx & Will Forte Comedy For Summer 2023
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