Well, Mel Gibson is nowhere to be found in it, so What Men Want certainly has that going for it. Honestly, that being a point in its favor should not be underestimated.
Now, to be fair to everyone else who made that movie released in 2000, What Women Want was made far before anyone had any idea what a douche Mel Gibson would reveal himself to be. It was also slightly more realistic about how people think — although there should be an emphasis on slightly. In a male-dominated world, there’s arguably more to be learned by a man gaining the ability to learn what women are thinking, rather than the other way around.
In What Men Want, sports agent Ali Davis (Taraji P. Henson, gleefully making the best of the role) is presented as a woman with her own lessons to learn about “connecting with men.” She’s self-involved and often selfish, although to this movie’s credit, she’s still presented as “likable.” That said, by and large, the men she comes across after bashing her head and then gaining the ability to hear everything they’re thinking, are themselves presented as innocent and pure of heart by default. In other words, this movie is pure utopian fantasy from every angle.
Sure, there’s a couple of men who are villainous. But these men exist only for that purpose: to be specific adversaries to Ali, as plot devices. If this script made any attempt to be at all realistic, probably half the men whose thoughts Ali heard thinking would be aggressively disgusting, somewhere on the spectrum of misogynistic to racist, and often both in equal measure. But then, that wouldn’t make for the fun, light-hearted movie director Adam Shankman (a white guy, incidentally) was going for here.
Now, some of these utopian elements are maybe not so bad — “be the change you want to see,” and all that. There is a couple of hints of real-world struggles we all know a woman like Ali Davis would face; in one scene, she challenges her boss to fire her, after he references “me too” and she suggests he’s only afraid to fire her because she’s a black woman. The fact that virtually none of her coworkers, <i>all</i> of them men in a male-dominated field, have any overtly bigoted thoughts about her, still places this story squarely in fantasy land.
I even have mixed feelings about Ali’s gay assistant, Brandon (Josh Brener — who is straight, though he’s fine in the part), who seems pointedly presented as a gay person who happens to be extremely knowledgeable about sports and is therefore qualified to be a sports agent. I like that the character is still relatively effeminate even within that otherwise “bro culture” context, although it does feel a little like the filmmakers are patting themselves on the back for how “progressive” they’re being. But as long as we’re talking about tokenism, I did like that among Ali’s core group of close friends, instead of there being one token black lady, there’s a token white lady (Wendi McLendon-Covey), although the running gag about her being a foul-mouthed Jesus freak is a little odd.
Ultimately, that is the biggest problem in What Men Want: none of its supporting characters particularly ring true, with the possible exception of Ali’s dad (Richard Roundtree). Ali herself comes closest of everyone in the film, but she otherwise lives in a universe of two-dimensional characters. This movie gave me a fair number of semi-consistent chuckles, but that’s not exactly the ringing endorsement a “fun comedy” would want. Ultimately this is just another throw-away, moderate amusement that no one is going to remember by next week.
And it’s too bad, because it does have some winning performances, and certainly a great lading lady in Taraji P. Henson. It gets bogged down in its script-by-committee: aside from the three writers of the 2000 film receiving credit on this one, this updated script was itself written by another four people (two white guys, two women of color). And although the diversity is necessary and to be commended, it’s not enough on its own to make this movie particularly great.
It’s not exactly awful either, though — What Men Want is palatable for as long as it’s in front of you, in spite of its tendency toward over-the-top diversions. It does seem to represent a transitional time in Hollywood that reflects some turns in the right direction, broadly speaking. That just means there will be more near-misses that get an E for effort. (Or, I guess in this case, a B-.)