The Next Best Thing

The Next Best Thing arrives as a comedy directed by John Schlesinger, and its first strength is a clear sense of purpose. Madonna and Rupert Everett give The Next Best Thing a recognisable human centre before the larger mechanics take over. The central situation in The Next Best Thing comes into focus without a long explanation: Abbie, tired of failed relationships, has a one night stand with her gay friend; they agree to raise the resulting baby together. Across its 1h 48m running time, John Schlesinger keeps The Next Best Thing more promising in concept than persuasive in execution.

⁠

As director of The Next Best Thing, John Schlesinger proves more promising in concept than persuasive in execution in the transitions between intimate material and larger demands. A strong scene in The Next Best Thing often begins with a modest detail before John Schlesinger lets its meaning expand. For The Next Best Thing, committed work cannot fully overcome the structural weakness because the central tone remains visible even during busy passages. The weakness in The Next Best Thing is that relationships remain too thin for later consequences to carry weight, although John Schlesinger usually finds the original rhythm again.

⁠

The Next Best Thing gains much of its identity from well judged reactions, a choice that makes the world readable as well as attractive. The contribution of Lakeshore Entertainment allows The Next Best Thing to combine well judged reactions with a consistent visual language. Within its United States setting, The Next Best Thing makes particularly good use of performer rhythm when the story needs to change scale. Sound and editing preserve the personality of The Next Best Thing by supporting detail instead of announcing every intended response.

⁠

What The Next Best Thing has to say is rooted in embarrassment, status and the gap between confidence and reality. The experience of Madonna carries that question through The Next Best Thing without reducing the character to an example. A difficult choice helps The Next Best Thing test the theme through consequence instead of explanation. When John Schlesinger allows ambiguity to remain, The Next Best Thing becomes more involving than a simple statement of intent.

⁠

The acting in The Next Best Thing is anchored by Madonna, who treats even functional scenes as opportunities to reveal character. Rupert Everett answers that approach with a different energy, giving The Next Best Thing welcome friction whenever the pace begins to settle. Around them, Benjamin Bratt helps The Next Best Thing feel like an ensemble piece rather than a vehicle with decorative support. Under John Schlesinger, the performances in The Next Best Thing share a tone even when the writing gives them unequal depth.

⁠

The narrative of The Next Best Thing works from a simple but productive collision between Abbie and the central character. Through Madonna, The Next Best Thing keeps that premise rooted in a reaction the audience can understand. Tom Ropelewski introduces an important relationship at a useful point, giving The Next Best Thing a reason to change pace without abandoning its emotional line. The handling of a difficult choice is not equally fresh, yet The Next Best Thing usually earns attention through clarity rather than surprise alone.

⁠

My final view is that The Next Best Thing provides a difficult recommendation despite several capable contributions for comedy fans who respond to personality and timing. Madonna supplies the emotional memory of The Next Best Thing, while John Schlesinger keeps the genre machinery readable. A concern remains because relationships remain too thin for later consequences to carry weight across part of The Next Best Thing, yet the better passages retain their force. What earns The Next Best Thing consideration is not perfection but the presence of choices that feel made for this story.