On her hip TV show, "Buffy the Vampire Slayer," Sarah Michelle Gellar plays a character who's determined to rid the world of those evil blood suckers who don't deserve to live. After seeing this film, most everyone will probably agree that it's too bad she wasn't present in that guise to drive a stake through the collective hearts of those responsible for giving this travesty the green light.
A lame production that neither succeeds as a romantic nor magical comedy, this is one of those film that critics can't help but renaming to read something along the lines of "Extremely Resistible" or "Hardly Irresistible." With acting as stiff as a set of wooden culinary spoons, characters as lifeless and flat as spatulas, and a concept that fails to rise to the occasion, watching this film is about as much fun as eating a cold lump of dough that never attained its ultimate form.
Stealing some of its cinematic recipe from the culinary art-house favorite, "Like Water For Chocolate," this disaster — from veteran producer, but first-time director Mark Tarlov and novice screenwriter Judith Roberts — simply take the notion of one's emotions being transferred to cooking and does nothing special nor imaginative with it.
In fact, the magical properties presented herein — including a briefly seen, but mysterious "fairy godfather and an obviously fake crab mascot (that to the filmmakers' only credit thankfully doesn't talk) are neither explained nor explored. In addition, the protagonist, Amanda, seems to accept what occurs as if she were playing the Samantha Stevens part on "Bewitched," but minus the charm or fun.
It doesn't take more than a minute or so into this fiasco before the realization hits you --- like a stove-full of bricks -- that the film is really bad and the potential for anything associated with the word "good" to occur seems quite unlikely. The acting is insipid, the dialogue is awful, and the overall plot and pacing are horrible -- and that's just in the first few minutes. Unfortunately, it never gets any better.
The film's humor consists of confusing Howard Hughes with Hugh Hefner, and saying "Crab Neopolitan" and "Crab Napalm" instead of "Crab Napoleon," and the chemistry and romance between the two leads is never anything more than artificial and forced. Featuring only one brief and entirely contrived obstacle to their love (can you guess if they overcome that?), the plot is torturously lethargic at best.
Had the film at least been partly successful at being whimsical (or even campy), then it wouldn't be so bad. However, and despite what appears to be an attempt at evoking those innocent and goofy romantic comedies of the sixties that starred the likes of Doris Day and Cary Grant, the film doesn't even come close to that material and the result is nothing short of an uninspired mess.
The acting is quite wooden — and we use that term loosely and only because performers appear on the screen and spout dialogue (another loose term), and one can only guess about what motivated the performers to accept such weakly written parts.
Both Gellar (of the previously mentioned "Vampire Slayer" fame) and Sean Patrick Flanery (of the former "Young Indiana Jones" TV series and subsequent TV movies) can't survive their unimaginatively drawn and vacuous characters, and the supporting performers are forced to play physically present, but even flimsier developed people.
Although the film is attempting to play off the old notion that the fastest way to a man's heart is through his stomach, we can assure you that the fastest way to clear out a theater is to run this film through the projector. With the only positive note about Simply Irresistible" being that it could be used to reform criminals and other "wrongdoers" by repeatedly making them watch it ad infinitum until they plead to go straight, this unappetizing course of leftovers is destined for a quick plate scraping into the trash can. We give the film a 0 out of 10.