Twenty-One

Patsy Kensit gives a shallow performance in TWENTY-ONE, a shallow film about a shallow woman and her shallow life. Under Don Boyd's resolutely uninflected direction, and with no strong narrative point-of-view, it's a movie you either "get" or "don't get." And if you don't get it, don't ask.

Like the heroine of a frothy 1950s romantic comedy, Katie (Kensit) lives in a nicely furnished London flat, wears stylish clothes, eats in nice restaurants and seems to have a lot of leisure time despite barely working as an office temporary. In her life are three men, one she is obsessivley involved with, one she keeps for sex and the third, her father, who is the only man...