By Tom Stoddart

Romantic comedies ending with the perfect couple winning against the odds have been done. So, instead of rehashing the same old tedium why not reverse the situation and follow the second-choice partner who gets left behind? This is the premise Writer/Director/Actor Michael Showalter achieves with exemplary results in his first feature THE BAXTER.

The film is set principally in Brooklyn, the "Baxter of New York City." Elliot Sherman (Showalter), a well meaning, polite accountant, but interminably boring finds what he presumes to be the perfect partner and sweetheart in Caroline Swann (Elizabeth Banks). He is then promptly dumped when the far more appealing Bradley (Justin Theroux) returns to collect her. All the time Cecil (Michelle Williams) sporadically surfaces (offering her rain-soaked beauty she pulled off so well in Dawson 's Creek) to remind the audience, and Elliot, that they are indeed a perfect match.

This is about the point at which the mind drifts from the charming plot and intelligent witty writing and starts to appreciate how much more to this film there really is. Showalter clearly had a strict, no-distress mind set for his inaugural picture which many seemed to have missed. It plods jovially and innocently along filling the gaps in the plot as necessary while allowing the audience to appreciate the fantastic use of imagery through their clothing, the setting, and bizarrely weather, which intelligently marks each act of the film. This smart use of cinematography almost leads the viewer to wonder if this is a period piece and which thankfully reinforces and does not reneg on harkening back "to the great screwball comedies of the 30's and 40's."

Michael Showalter, Peter Dinklage and Elizabeth Banks in the IFC Films picture THE BAXTER.

And then there's Showalter who, when interviewing, proved an interesting task. While sitting in with a bunch of reviewers asking questions to Showalter - who clearly of superior intellect – I indeed felt like the Baxter; so much so I was afraid to bray my English accent amongst those for which I had gained mislaid respect. It was only when I (formulated my thoughts on the film) did I start to gain confidence and realize how cataclysmically they had all missed the point of what is a great film. The Baxter has style. It was only at that point did I realize the audience scope for this film – everyone has been a Baxter in some context. Perhaps I should have asked the right questions and maybe I would have gotten the girl.

Maybe it doesn't take much extrapolation to see that everyone has Baxter moments, and that there are few, if any, people out there that cannot relate to this film. Sadly, as a consequence, many have hijacked the “Showalter is no leading man” bandwagon and hovered upon this as a negative, perhaps because they so wanted him to be the hero. He's not. Showalter is in fact perfect for the job, portraying the goofy innocence required for such a part to be pulled off. Bradley manages to outplay his character so precisely that he shines above Showalter's Elliot – which perfectly illustrates the essence of a Baxter.

Irrespective of plot intricacies, which are weak in places, this film must be appreciated for the stance that it provides. It chooses innocence and charm, no sex, swearing, guts or gore - no shock, but awe. Instead we see a throwback to the early romantic comedies pulled off with style thanks to good writing and intelligent direction. A rare treat amongst a barrage of cacophonous films we are shocked into liking for its "barrier-breaking" into the world of crass.

Perhaps Showalter gets too much credit here, but there is most definitely something superior about him, dare I say almost British. For this reason among others, go and see his film.

The Baxter is rated PG-13 and is currently in theaters.