If You Enjoyed Actor Chris O’Dowd as Nathan Rhodes Avoid Him In These Other Roles – Re: Bridesmaids Movie (Part 2)

If You Enjoyed Actor Chris O’Dowd as Nathan Rhodes Avoid Him In These Other Roles – Re: Bridesmaids Movie (Part 2)

Part 1 had gotten quite long, so I’m putting the rest of the content here in a Part 2. At this rate, there may be a part 3.

View Part 1

O’Dowd’s acting roles are not all placed in chronological order in this post or in Part 1

Miss Peregrine’s Home for Peculiar Children (2016)

This movie came on cable television the other night, back-to-back in repeats (on December 2,  2018), so I watched it both times.

(View the IMDB page for this movie here).

The overall movie quality is mediocre, as far as action-adventure fantasy movies for tweens are concerned. I didn’t really hate the movie, I didn’t really love it. The movie is average entertainment.

Movie Poster for the 2016 film “Miss Peregrine’s Home for Peculiar Children” in which Chris O’Dowd plays an American but his American accent is 99.9% terrible and unconvincing

As to O’Dowd’s character and performance in this movie: it’s a grey area.

If you enjoyed O’Dowd as the nice cop in “Bridesmaids,” you may or may not like him in this.

O’Dowd is a Z-grade actor, and this “Miss Peregrine’s” movie continues that pattern. In this film, he probably has about ten minutes or less of screen time.

In most of the movies I’ve seen O’Dowd in, that is usually the case – he normally gets a very small part. Other than perhaps “The Sapphires” film, he rarely is on screen more than five or ten minutes.

For some reason I cannot comprehend, O’Dowd got third place billing in this movie.

As the movie began, O’Dowd’s name appeared in the opening credits third in line after main star Eva Green, and some other actor whose name I forget.

Even though Samuel L. Jackson, who is a far bigger movie star than O’Dowd, and though Jackson has a pivotal role in this movie as the main villain and has a lot of screen time – O’Dowd’s name inexplicably appears on screen in the opening credits, but not Jackson’s.

Why is that? O’Dowd’s role is much smaller than Jackson’s in this film, and he does not have the movie star gravitas of Jackson.

As a matter of fact, today (December 3, 2018) is the first time I’ve visited O’Dowd’s IMDB page in ages to see what new screen credits he has, if any, and he’s not a busy actor. He does not get much work in his industry.

O’Dowd and his character didn’t spoil the “Miss Peregrine’s” movie for me, but his character is slightly unlikable, because the script writer wants to depict his character as being a somewhat negligent father who is cynical and a kill-joy.

In this film, O’Dowd plays a father named Frank to a teen kid named Jake.

In one scene, when the kid, Jake, tries to open up to his father Frank (O’Dowd) about his problems, the dad’s solution is to tell the kid to tell it to his psychologist.

The notion one gets from this scene is that the father (O’Dowd) does not want to expend much time or effort being there for his son, and would rather pawn off the work of parenting on to a therapist – so, he’s kind of a selfish, lazy father.

There is one scene in this movie where Frank (O’Dowd), Frank’s son Jake, and a blonde lady are sitting on a couch in the office of Jake’s psychologist. I am not sure, but I believe the blonde lady is supposed to be Frank’s wife.

The thing that weirds me out about this is that the blonde lady is played by actress Kim Dickens who I used to watch when she played the character Madison on the television show “Fear the Walking Dead.”

(Okay, yes, I just checked and Kim Dicken’s IMDB page confirms she plays O’Dowd’s wife in this movie; she is billed as being “Jake’s Mom.”)

Another odd thing about this is that in real life, when this “Miss Peregrine” movie was filmed, O’Dowd was in his late 30s, and Kim Dickens was in her early or mid 50s.

I have nothing against Dickens nor older actors having parts, but I’ve often wondered why movies create these fictional romantic couples where one partner is ten or more years older than the other, which I am not a fan of.

I don’t like “May December” age gaps in real-life relationships, so I don’t like seeing them in movies or TV shows, either, but this film has a younger actor (O’Dowd) paired up with a much-older (as in ten year or more age gap) actor (Dickens) as a love interest.

Usually, movie-makers pair up a male actor with a much younger on-screen wife, but in this movie, the roles are reversed, and they gave the late-30s O’Dowd character an on-screen wife who is around 12 or more years his senior. Very odd.

I do like Kim Dickens, but O’Dowd has rubbed me the wrong way ever since I learned his real-life persona does not match his nice guy Nathan Rhodes character from the “Bridesmaids” movie, so it’s icky for me to see Dickens playing O’Dowd’s wife in this movie. Dickens deserves better than that.

No: Wearing Shorts and Dorky High-Water Pants (Trousers)

In at least two scenes in the film, O’Dowd wears knee-length cargo-shorts. I don’t like men generally in shorts, and O’Dowd specifically. Keep your pasty-pale and wobbly-kneed legs under wraps – nobody wants to see that.

In yet other scenes, Frank (O’Dowd) is wearing high-water pants (long trousers), but the trouser legs are rolled up, revealing his socks, which makes him look quite dweeby and dorky.

Return of the Hideous, Scraggly Facial Hair

O’Dowd is wearing facial hair in this movie, and he looks terrible with facial hair – in this movie especially, his beard seems bigger, bushier, and more unkempt. He sort of resembles a homeless street person.

I cannot figure out if O’Dowd wears facial hair because he likes having it, or if these movie studio people insist he have facial hair for his character in whatever film he is in. He looks awful with facial hair, as I’ve noted in this blog time and again in months past.

Screen cap from a “Miss Peregrine’s” on-set interview with Chris O’Dowd (around 2016) – with the awful, scruffy- looking beard and hair

O’Dowd is by no means a good-looking man to start with, and the big, bushy beard and the mustache make him look ten times worse.

O’Dowd looks even more unattractive in this movie than he usually does in other movies – in how he was photographed, and the blue-grey tones of the film are not flattering to him, either.

O’Dowd’s Horrible American Accent in Miss Peregrine’s Home for Peculiar Children

I have discussed O’Dowd’s terrible American accents in previous posts, such as this one.

O’Dowd is originally from Ireland, so he speaks with an Irish accent.

When I first heard O’Dowd’s character speak in this movie, I could not figure out why he sounded so strange.

Then it dawned on me: the contemporary (as in, much of this movie is set in the year 2016) portion of this movie is set in Florida, in the southern United States.

O’Dowd’s character is supposed to be an American, who was presumably born and raised in Florida (or some part of the United States).

Out of all the lines I heard O’Dowd deliver in this movie, I heard only about two where his “American” accent sounded passable or even remotely convincing – I would say this constituted about 1% of his speaking lines.

For the remainder of the movie, for the rest of O’Dowd’s lines, about 85% of his “American” accent, one could hear under-currents of his natural Irish accent.

O’Dowd’s speaking voice as American- born- and- raised Frank in “Miss Peregrine’s” was a mix and a muddle of American with Irish under-tones, which was very distracting.

It was difficult for me to concentrate on the content of what O’Dowd’s character was saying, because I kept getting distracted by this whole,
“Wait, this guy is supposed to be American, but he sounds a little European, too. Why would an American born- and- raised man living in Florida sound vaguely Irish?”

For the remaining 14% of his dialogue, O’Dowd sounded as though he was doing a European’s stand-up comedy routine of what he THINKS Americans sound like, and it comes across as him taking this tactic to mock Americans.

In this 14% of line reading, at times, O’Dowd’s American accent contains what sounds like to me as a quasi- California, surfer, “stoner guy” accent.

It’s as though O’Dowd seems to think that all American men talk as though they are marijuana-smoking, air-headed, stoner, burn-out types.

I was born and raised in the United States, and I’ve lived all over the nation – I’ve lived in the northern, southern, eastern, and western United States.

I lived in Florida myself for a few years, and I used to vacation there off and on, and I can tell you that not even most of the teen-aged surfers who live in Florida sound like typical stoner-dudes like one hears in the “Fast Times in Ridgemont High” movie.

Most American men do not sound like the “Totally, fer shure dude, gag me with a spoon!” male equivalent of the vapid, teen-aged, Valley Girls from the 1980s.

In the United States, we have many accents – people from California don’t sound identical to people living in the Mid-West. People in New Jersey don’t sound like people in Utah.

In the Southern United States, there is no single southern accent. People born and raised in Texas aren’t going to all sound like people born and raised in Louisiana or in Kentucky.

A lot of Americans have the “American no accent accent” that one can hear American television journalists use.

So, about 14 percent of O’Dowd’s speaking in this movie came across less as an honest-to-goodness American accent and more as a ‘European stand-up comic hack doing a superficial, mocking impersonation of Americans’ accent. As such, it felt insulting, and it was grating.

Bad Accent = Unprofessional for Actor

Aside from this bad American accent being distracting, it’s also unprofessional.

O’Dowd is currently in his late 30s (or maybe he’s now turned age 40?), he’s been doing TV and movie roles since his late 20s or early 30s, and he’s lived in the Los Angeles and Hollywood area for almost a decade now.

O’Dowd has had plenty of time to seek out a dialogue coach (or whatever they are called) in the Hollywood and the Los Angeles area.

O’Dowd has no excuse for having a weak or inconsistent American accent when playing Americans in roles at this stage of his career.

I’ve seen British actors play Americans who capably pull off American accents.

In my opinion, examples of foreign actors convincingly pulling off American accents would include British actor Andrew Lincoln (who played the American Rick Grimes on ‘The Walking Dead’ television show), as well as British actor Lennie James (who plays American Morgan on ‘The Walking Dead’ and ‘Fear The Walking Dead’).

I’m not saying both these actors, Lincoln and James, are 100% perfect on their American accents 100% of the time in their parts as Americans (Lincoln is rather infamous among American viewers of the Walking Dead television show for his strange “Coral!” pronunciation of  the name”Carl”), but those actors are pretty close, and very consistent about it, so I applaud them for that.

So it can be done. Foreign actors are capable of competently emulating an American accent, so O’Dowd probably can, if he’d get some tutoring or voice lessons.

I’m not the only one who felt this way about O’Dowd’s accent in this movie. From a Reddit thread:

Actors who are terrible at American accents (2017)

(comment by stalkingyouis fun):
Chris O’Dowd. Ruined himself in Miss Peregrine’s school for Peculiar Children.

O’Dowd’s Role in Miss Peregrine’s Articles and Reviews

Here are reviews of the “Miss Peregrine’s” movie by other people, some of them commenting on Chris O’Dowd’s bad American accent in his role of Frank in that film:

Miss Peregrine’s Home for Peculiar Children vs Deepwater Horizon by Kenny D, Sept 2016


Sadly, Asa Butterfield might be in his awkward phase and comes off a bit stiff. Same goes for his father, played by Chris O’Dowd, who might have the worst American accent ever.

Miss Peregrine’s Home for Peculiar Children by Eric D Snider, Sept 2016

After Grandpa’s death, Jake and his father (Chris O’Dowd, doing a bad American accent) travel to an island near Wales to see the place the old man spoke of.

With Miss Peregrine, Tim Burton Shows He’s Still Got Wonder in Him by Chris Packham, September 27, 2016


In Miss Peregrine, the mundane world and the realm of the fantastic are sharply delineated. Jake’s Florida looks like Florida. His dad is as dull as a Docker’s catalog — the Irish O’Dowd, normally a highly expressive comic actor, puts on an American accent as flat as his character.

Tim Burton enters mashup mode with Miss Peregrine’s Home For Peculiar Children – from AV Club


Peregrine’s home itself, frozen in time’s amber, is such a metaphorically rich backdrop that the movie suffers every time it leaves it to catch up with Jake’s birdwatching dad (Chris O’Dowd, rocking a very shaky American accent)…

Tim Burton’s latest, Miss Peregrine’s Home for Peculiar Children may be a slow build, but it’s a worthy journey by Chris Knight


It’s a worthy journey, though a bit of a slow build at first. Jake convinces his ornithologist father – Chris O’Dowd, masking his natural Irish accent behind a terrible American one that is the worst affront to both countries since the Fenian raids – to take him to the Welsh island where his grandfather grew up. He finds the titular Home there, but in ruins, destroyed by a Luftwaffe bomb during the war.

Miss Peregrine’s For Peculiar Children Review by Matt Donato


We’re introduced to Butterfield’s character through emotionless interactions between Jake and his father Franklin, an elder who is painfully played by an American-accented Chris O’Dowd (to a distressingly unnatural degree).

…There’s not much to say about Miss Peregrine’s Home for Peculiar Children, which is wholly disheartening once the talent involved is considered. Samuel L. Jackson – the film’s most endearing character – is underused and kept caged up, and British actors are cast in American roles only to struggle visibly with off-kilter accents.

Characters are introduced and then never developed, as Tim Burton and Jane Goldman hope you’ll be too distracted by “peculiarity” to notice a lack of development.

All these things and more waste what could have been a grimly tender coming-of-age story for outsiders and renegades alike, which this film is anything but. But hey, at least there’s a pretty nifty amusement park fight to look forward too – if you can even make it that far.

Miss Peregrine’s Home for Peculiar Children

Along with Chris O’Dowd’s diabolical American accent, the film has a few unanticipated laughs.



…Well, not so much, and it’s the little things that stopped this film entering the Burton hall-of-fame alongside classics such as Beetlejuice and Edwards Scissorhands.

For one, the casting of Chris O’Dowd as Jake’s (Asa butterfield) American father. The character wasn’t especially critical to the plot, so to me, it made no sense to cast such a well-known face, and expect him to deliver a convincing American accent. Which he doesn’t, and it was a constant annoying distraction whenever he was in a scene.
—(end excerpts)—

My only comment about the above: is Chris O’Dowd well known? No. Not to American audiences, no.

Excerpt: (Podcast) Ep 73: Miss Peregrine’s Home for Peculiar Children

It’s Tim Burton’s take on Harry Potter as the Trio dives into Peculiar Children based on the novel. We discuss a surprisingly impressive cast, Chris O’Dowd’s confusing accent, and the benefits (and consequences) of living in a time loop.

Miss Peregrine’s Home for Peculiar Children – Movie Review from JERMS


Some actors should just not be forced to try an American accent, and Chris O’Dowd is one such actor. The Irish actor best known for the BBC comedy The IT Crowd makes Ewan McGregor sound like Robert Redford. But that aside he plays Franklin, father of Jake (Asa Butterfield, a Londoner who’s slightly more successful at sounding like a native Yank.)

Miss Peregrine’s Home For Peculiar Children (2016) review


Surprisingly though, the stinker of the film award has to go to Chris O’Dowd – the usually brilliant star of The IT Crowd and Bridesmaids – as Jake’s dad.

Ditching his memorable Irish accent for a dire Fauxmerican effort, he’s such a let-down in a film that’s almost entirely well cast.

Thankfully this is made up for with Samuel L Jackson, who appears in the film’s second half.

Review by Chris Potter on Sey Whut:

Miss Peregrine’s Home for Peculiar Children (2016) – 3/5 – 1st half: Stilted acting, slow pacing and boring. 2nd half: Much better acting, lots of action and numerous story revelations. Also, really bad American accents from Butterfield and O’Dowd.



…to let Jake catch up with his bird-watching dad (played by Chris O’Dowd with a wobbly American accent).

Miss Peregrine’s Home for Peculiar Children – Box Office Review- from MaskerPiece Theater


… The characters in this story all felt mostly natural, assuming they had the “gifts” they possessed in the film.

The only stand out character was “Franklin” the father of Jake, played by Chris O’Dowd. His character didn’t feel natural at all and the American accent he attempted to have was poorly delivered.

Considering most of the movie takes place outside of America, I would’ve been fine with his character having a British accent.

If he, perhaps, didn’t have to focus on sounding American, he might’ve been able to portray a worried but not overly concerned father who’s into photographing birds.



In-film Musings

… – Chris O’Dowd’s American accent just sounds wrong
– Oh hey, it’s the Mum from Fear the Walking Dead [Kim Dickens – I know, this was surprising to me too, and I cannot see O’Dowd being married to Dickens]

…Essentially it’s Professor X’s School for Gifted Children, except that they’re stuck in time.

Screen Fantastique Review


The only bump, as far as casting goes, is Chris O’Dowd as Jake’s father, Franklin. The decision to have O’Dowd adopt an American accent is a mistake and his performance feels as though he is fighting against his Irish brogue in every scene in which he appears.

Film Review: Miss Peregrine’s Home for Peculiar Children – from Feeling Fuzzier


…Well, it isn’t that simple. Awkwardly, it [Miss Peregrine’s Home for Peculiar Children] rests somewhere in the middle of Burton’s filmography – it’s not the raging dumpster fire that is Alice in Wonderland but neither is it a soaring return to his magical early stuff.

Simply put,Miss Peregrine is a mixed bag that shows blinks of promise all the while trudging through a murky bog of mediocrity.

…No, the real issue with Miss Peregrine is the narrative and how meandering most of the second act is. You see, we’re dealt a lot of exposition about the world and how it works – terms like ‘hollowgasts’ and ‘ymbryne’ are thrown around a lot and Green spends 90% of her screen time giving Butterfield a guided tour of the house and showing him old photographs that fill in the blanks.

…. O’Dowd is utterly miscast too and his American accent leaves a lot to be desired.

Miss Peregrine’s Home for Peculiar Children (2016) – by Dan The Man’s Movie Reviews


… Regardless, none of this matters or gets away from the fact that Miss Peregrine’s is just a casually boring movie.

Burton shows barely any signs of life that he cares and as much as its sad to say, it transcends over to the rest of the film.

The cast, as talented as they may all be, don’t really seem to be giving it their all, either.

Asa Butterfield is an incredibly dull leading-man, with an even worse accent; Chris O’Dowd is playing a born-Scotsmen who now lives in America, yet, has that terrible accent of his
—(end excerpts)—

Above: the movie did not make clear where the O’Dowd character was born and raised that I can recall. Perhaps I am mistaken, but I thought the movie intended for the audience to believe that O’Dowd’s character was born and raised in the United States.

Miss Peregrine’s Home a return to form for Burton by RTE, October 1, 2016


It tells the story of Jake (Martin Scorsese’s Hugo) a Florida teen who grew up hearing far-fetched tales of unusual children with extraordinary powers from his grandpa Abe (Terence Stamp). After his grandfather is mysteriously murdered, Jake sets off to Wales with his clueless dad (Chris O’Dowd with a questionable American accent) to investigate Abe’s tall-tales.

Via IMDB’s Miss Peregrine’s Home for Peculiar Children (2016) User Reviews

IMDB User Reviews:
Amazed at how bad this
(comment by) isgornasa
13 December 2016

Gosh, this was just plain awful to watch. I used to think Burton is a genius. Like another reviewer said, Burton has abandoned storytelling.

Sure, the visuals are very nice, and you gotta like the quirkiness of it all, especially if like me you like magical movies, but come on, what about the story? I haven’t read the book so I can’t say how much it got butchered but I can comment on the quality of everything else here.

The main problem is that there is no plot. There is some A to Z semblance of a plot but who really cares about any of it? I don’t know.

Everything just falls flat, is lifeless and stiff. It was a torture to watch from the very beginning.

It had no atmosphere, the acting was terrible, even from Chris O’Dowd. Only Eva Green was relatively good but the script was so bad that even she didn’t have much to work with.

Review by the Independent Critic


The story evolves around Jake, a fumbling and bumbling teenager with only semi-attentive parents, played by a fairly one-note Chris O’Dowd and a barely registering Kim Dickens, whose relationship with Jake’s paternal grandfather (Terence Stamp) is so strained by the elderly man’s seemingly dementia-fueled magical tales of Ymbrynes and and monsters and much more that they can barely trouble themselves to grieve when Jake finds the man dead in his back yard with his eyes having been mysteriously plucked out.

A Guide to the Kids in Tim Burton’s “Miss Peregrine’s Home for Peculiar Children


In this one the teens and kids take center stage. And props to Asa Butterfield (remember his rousing performance in Ender’s Game?) who plays Jacob “Jake” Portman, a 16-year old American teen (whose father is played by Chris O’ Dowd sporting a weird American accent—well, weird for him as a previously perennial Irish guy caricature)

Review: ‘Miss Peregrine’s Home for Peculiar Children,’ directed by Tim Burton


Jake’s doubting, lazy photographer father (Chris O’Dowd, fighting valiantly to maintain an American accent) begrudgingly agrees with his son’s shrink (Allison Janney) that a trip to such an iconic location from grandpa’s childhood could bring the young man some much needed closure.

Miss Peregrine’s Home for Peculiar Children review: Tim Burton successfully puts his stamp on the teen fantasy genre


With his reluctant father (Chris O’Dowd, displaying a very uneven American accent) with him, Jake travels to an island off the coast of Wales.

My note on those last two reviews: sorry, but O’Dowd’s “American” accent is not merely “questionable” or “uneven” in this film (and most of his other work), it’s flat-out atrocious and largely inaccurate.



Eva Green plays the titular Miss Peregrine, and makes the character fierce but caring, while Chris O’Dowd struggles with an American accent as Jake’s father, Terence Stamp makes Abe odd but endearing, and Samuel L. Jackson camps it up as the menacing Baron.

Miss Peregrine’s Home for Peculiar Children review- Burton’s back

Chris O’Dowd has an awkward American accent and is wasted here.

Tim Burton’s ‘Miss Peregrine’s Home for Peculiar Children’ Needs More Peculiarity [Review] by Angie Han, September 16, 2016


Perhaps the film’s indifference its own lead character explains the flatness of Butterfield’s performance. He’s wholly unconvincing here, which is all the more disappointing since he’s proved such a compelling presence in films like Hugo and Ender’s Game.

He struggles with his American accent, never more obviously than in scenes with Chris O’Dowd whose American accent is even worse. I found myself wishing Burton had just taken pity on his stars and let them keep their natural accents, especially as there is no narrative reason the characters need to be American.

….For the most part, though, Miss Peregrine looks and feels exactly like the slick, CG-heavy modern blockbuster that it is, less Batman Returns or Beetlejuice than Alice in Wonderland (but less coherent and less interesting). Despite its stated obsession with all things “peculiar,” there’s little about this movie that is actually surprising. It comes across like a movie going through the motions of setting up a franchise, not a movie eager to bring you on a wild adventure in a whole new world.

‘Miss Peregrine’s Home for Peculiar Children’ Is All Style, No Sense by Bernard Boo, September 30, 2018


…However, despite its strengths, the film falls flat as a pancake in its incomprehensible, bumbling third act.

…..Our proxy is Jake (Asa Butterfield, awkwardly donning an American accent), an ordinary teen living in a boring suburb in Florida travels to England with his father (Chris O’Dowd, whose American accent is even less convincing) where he finds a hidden gateway to the ’40s in the Welsh Countryside.

… Somehow, the story’s third act manages to be both trite and spectacularly confusing, with action sequences that feel familiar but make no sense.

Miss Peregine’s Home for Peculiar Children – Q Network


Encouraged by a therapist (Allison Janney), Jake convinces his emotionally absent father (a strangely cast Chris O’Dowd, struggling to maintain a consistent southern accent) to travel with him to the Welsh island of Cairnholm where Abe supposedly spent his childhood.

Miss Peregrine’s Home for Peculiar Children Review from Letter Boxd


Irish Chris O’Dowd doesn’t make a very convincing American, while English Asa Butterfield is better, but really isn’t a very engaging lead – he’s pretty anaemic of face and personality.

Miss Peregrine’s Home For Peculiar Children DVD release date UK, trailer and movie details


Miss Peregrine’s Home For Peculiar Children could have been a potential classic with both Tim Burton and Jane Goldman behind the movie making it dark, fantastical and action-packed, but it just falls short with a few rushed moments letting the film down.

It delivers a strong adaptation of the characters that earned Ransom Riggs so many plaudits and while Chris O’Dowd’s accent is hard to come to terms with, the rest of the cast is very good throughout.

Movie Review: Miss Peregrine’s Home For Peculiar Children – from Loud Feedback

On the other side of the spectrum, Chris O’Dowd has a hard time masking his [Irish] accent [while he’s supposed to be playing an American character], and Samuel L. Jackson is, well, quite Samuel L. Jackson-y (yes, you know exactly what I mean)

Miss Peregrine’s Home for Peculiar Children (2016) Discussion – from MC

Chris O’Dowd should never do an American accent…… 

comment by MikeC19
He [O’Dowd] didn’t do it [his American accent] badly, but it was so distracting to me, knowing what his real accent sounds like.

It’s funny how these characters in the main family HAVE to be American.

If these actors just kept their original accents, it’d be easier for me to handle. There are families out there with people from all over the world.
—(end excerpt)—

Mike, no. It’s okay to say “Chris O’Dowd’s “American” accent in the movie was awful.” Because it was awful, truly awful, the majority of the film.

Reviews – New movies opening September 30th 2016 – Sept 19, 2018


…Eva Green plays the titular Miss Peregrine, and makes the character fierce but caring, while Chris O’Dowd struggles with an American accent as Jake’s father



The appearance of Dame Judi Dench, though welcome, also feels like little more than an opportunistic afterthought and Chris O’Dowd, often the funniest thing in off-beat comedies, has little to do here except struggle with an American accent.

Reviewers who got O’Dowd’s “Miss Peregrine’s” accent WRONG:

Miss Peregrine’s Home for Peculiar Children – Film Review – from on: Yorkshire Magazine by Roger Crow


His folks, including Chris O’Dowd with a pretty good US accent, thinks the lad has lost his marbles, while his psychiatrist Dr Goldman (Allison Janney) thinks a trip to the home his late grandfather spoke of (in a clumsy scene of exposition) will do him good.
–(end excerpts)–

“With a pretty good US accent?” What planet does Crow, the reviewer hail from? O’Dowd’s American accent was poor and very inconsistent in this role.

Tim Burton’s wonderfully weird mind brings us this tale of fantasy and peculiarity by Sharuna Warner – Sept 30, 2016


And with that Jake and his father Franklin, played well by Chris O’Dowd with a very believable American accent, make their way to Wales where Jake not only finds the answers to his many questions but discovers that perhaps he isn’t that ordinary after all.
–(end excerpts)–

No, Sharuna, O’Dowd’s “American” accent was not “very believable.” Most of his accent, aside from one or two lines, was inauthentic.

And note I largely keep putting the word American in scare quotes when using the phrase “O’Dowd’s “American” accent.”

31 Days of Hallowe’en, Day 20: Miss Peregrine’s Home for Peculiar Children (2016) by Chainsaw Phil


Enough of the movie is enjoyable. It’s light-hearted. It’s decently-paced. It’s cosplay-ready. Chris O’Dowd should genuinely win an award for converting his Irish accent to a flawless American one.
–(end excerpts)–

Yikes. Please, Chainsaw Phil, get your hearing checked: O’Dowd’s attempt at an American accent in this movie was a 99.9% fail. I cannot believe that Chainsaw Phil is American. He must be European.

Miss Peregrine’s Home for Peculiar Children Review AKA X-Men It Is Not by Pandragon Dan


Secondly, what happened to Jake’s Father (played by Chris O’Dowd from The I.T. Crowd – with a fairly convincing American accent, even if his Irish did come through now and then).

He took Jake to Wales to try and find the old house, but then he just disappears halfway through the story. And considering the end of the film involved Jake getting back from Blackpool to Florida (with NO money might I add), did his Father stay in Wales?

Honestly, I wondered why he was in the film most of the time. Would have been nice to have some resolution for his character.
–(end excerpts)—

I agree with some of Pandragon’s critiques about the Frank (O’Dowd) story arc there, but the  comments about O’Dowd’s accent?

I’m American born and bred, and I can tell you that 99.9% of O’Dowd’s “American” accent in this film was totally off.

O’Dowd’s Irish accent bled through most of the time in his role of Frank, and not just every now and then – his Irish accent was evident through-out, when he wasn’t doing his odd “Surfer Bro, Stoner Dude” impression of American men from the surfer culture of California.

Love After Love (2018)

As of Decemeber 2018, I have not seen this movie myself.

In the movie “Love After Love,” Chris O’Dowd plays a guy named Nicholas.

Based upon several reviews I’ve read of this movie, I fear it may contain a nauseating scene of a semi-nude Chris O’Dowd snuggling with either a wife character or mistress – no thank you.

Some reviews mention that there are scenes in this film of various cast members with “nude bodies intertwined,” but it does not specify which cast members.

(O’Dowd has an unattractive, odd-looking body – (there is a shot of him shirtless in a You Tube clip from “The IT Crowd,” which reveals an oddly long, unappealing,  pasty pale, non-sexy torso), which is why I suspect movie directors, while showing other male actors shirtless, will film O’Dowd in a shirt, even so far as to putting him in a tank top in the swimming pool scene in the film “This Is 40,” while his male co-star in that scene went topless.

You’ll notice in O’Dowd’s bedroom scene with the Annie character in “Bridesmaids,” we never actually see him shirtless.

So no, I do not want to see a nude or quasi nude O’Dowd snuggling with some woman in a bedroom scene.)

Tribeca Film Review: ‘Love After Love’

by Nick Schager, April 2017


Through these ups and downs, Suzanne and Nicholas’ own bond becomes increasingly fraught with tensions of a twisted sort, with Suzanne disapproving of Nicholas’ new partner, and Nicholas growing increasingly angry at his mom’s desire (and ability) to move on with a new beau — a dynamic that’s laced with hints of romantic jealousy and quasi-incestuous bitterness.

…That’s even truer of O’Dowd, whose Nicholas is for the most part an unrepentant prick, and yet made empathetic by the actor’s refusal to reduce him to merely the sum of his actions; creeping around the edges of his eyes, you can sense the relatable cause of his each successive misstep
–(end excerpts)–

For anyone who liked Rhodes, do you want to essentially see him involved with “quasi-incestuous bitterness” towards his on-screen mother? Me neither. Puke.

Anyway, most of the reviews are saying the character O’Dowd plays is totally unsympathetic: he verbally abuses the women in his life, particularly his wife and a mistress.

So, if you enjoyed the Nathan Rhodes character: avoid this one. AVOID.

When I first saw this film title a year ago on O’Dowd’s page, I thought it was going to be a cute, sweet rom com type of movie, where someone breaks up with someone, but then finds love again with someone else after the breakup. How wrong my assumption was.

The pain of ‘Love After Love’


O’Dowd dominates another dinner scene in which Nicholas expresses crushing cruelty toward a man with whom Suzanne has begun a relationship.

Love After Love Is a Revelatory Moment for Andie MacDowell


O’Dowd’s Nicholas might be one of the least appealing protagonists in cinema history, and if you’re like me you’ll spend most of the movie’s running time squirming in discomfort and hoping you’re not as much like him as you think you are. I found it a great masochistic experience.

Like Hamlet if the protagonist had no capacity for self-reflection, Love After Love turns on the loss of a father, and on a son’s sense — unarticulated but unavoidable — that he’ll never measure up in his mother’s eyes or anyone else’s.

There’s a creepy incestuous vibe between Nicholas and his mother that Suzanne doesn’t entirely discourage, though the aggression is largely on Nicholas’s end.

He’s an overbearing guy, invasive when he thinks he’s being loving. He’s one of those public thigh-strokers: He runs his hand up and down Rebecca’s leg at a family dinner and later caresses his new fiancée, Emilie (Dree Hemingway), in view of her own family.

Any affection you might feel for him based on his being played by Chris O’Dowd (and who doesn’t like Chris O’Dowd?) will fly out the window in a scene in which he verbally abuses Rebecca, who has come to his family’s spacious, upstate New York home to lend emotional support.

He registers her discomfort at being there — their marriage is in its death throes — but accuses her of seeking attention. As he talks, she stares ahead in near catatonia, the last straw of their relationship quietly breaking.

Seen through the eyes of a spouse, a verbal abuser like Nicholas can be as creepy as Alexander Skarsgård’s physical abuser in HBO’s Big Little Lies. How do women endure it?

…The film features not one but two nightmarish dinner scenes. In the first, Nicholas’s brother, Chris (James Adomian) — who seems even more of a loser than Nicholas is — gets staggeringly drunk at Nicholas’s engagement party and pees on the guests’ coats. The second is Nicholas’s toast to his new wife’s single father — who’s quietly beginning to date Suzanne — that goes on and on with a swelling undercurrent of rage while Suzanne goes ashen.
—(end excerpts)—

“Incestuous vibe”s between O’Dowd’s character and his on-screen mother? No thank you. People urinating on coats? No thanks. The same guy who played kind-hearted Rhodes being vile to someone at a dinner party? Nope, do not want.

More of what a jerk character “Nicholas” is:

For Better and Worse LOVE AFTER LOVE Captures Grief

May 2018
by Tim Stephens

Casting the Sons of LOVE AFTER LOVE

Chris O’Dowd is the more centralized son of the family and the film reflect this. As seemingly the more together son — he is successful in business, smart, attractive — he also has farther to fall.

And fall he does, revealing himself as toxic, selfish, and needy. There’s a poison pill in the center of his soul and he fully embraces the opportunity to break it open following his father’s demise.

There is something in particular he does — either by choice or direction — that is so striking. He is a vicious arguer, all ad hominem attacks, no substance. But he never does it face to face. He positions himself behind people and shreds them, usually standing over the seated individual. It is such an interesting choice and tells you all you need to know about Nick. He’s the kind of terrible you don’t see coming.
–(end excerpt)—

MASCOTS (2016)

I don’t know much about this one, and from what little I’ve seen, I don’t want to know more.

 O’Dowd plays some kind of sports team mascot in this film called “The Fist.”

This reviewer did not like the “Mascots” movie:

Why Is No One Else Seething Over the Rampant Fat-Shaming in Christopher Guest’s ‘Mascots’?

The guys over at A V Club had this to say about it (I have remarks below this long excerpt, so please keep reading):

Christopher Guest returns to mockumentaries with the formulaic Mascots

Mascots, Christopher Guest’s first mockumentary since A Mighty Wind (and first feature as a director since For Your Consideration), offers up an unwieldy cast of familiar Guest-ian buffoons: ditzes, prisses, ignoramuses, bickering couples, over-sharers oblivious to their own eccentricity.

The formula is identical to Waiting For Guffman, Best in Show,  and A Mighty Wind: same unseen but often addressed documentary crew; plenty of prop gags and improvised awkwardness; a big climactic to-do; mock-profile character introductions and a “Where are they now?” epilogue.

But to anyone who’s seen the actor-director’s earlier forays into the genre—which is to say, to the target audience of Mascots, the latest Netflix production to bank on over-familiarity and nostalgia—the lack of quality control should be apparent.

The only thing Mascots has to be is laugh-out-loud funny, and yet, most of the time, the only things it elicits are reflexive chuckles and a sense of creeping boredom.

But the Golden Fluffies, as the mascot awards are called, are the sort of idea that might have been a throwaway gag in one of his earlier films. (One can almost picture it as a framed photo and a participation ribbon on a mantle, being pointed out by some proud goofus to the camera crew.) And it’s not even that good of a joke.

As before, Guest starts by introducing the profilees, all hoping to take home the top prize with a showstopping routine: a henpecked philanderer (Zach Woods) and his abusive wife (Sarah Baker); a spacey Southerner (Parker Posey); a former cult member (Chris O’Dowd) who has found his calling as the controversial, hard-partying mascot of a small-town Canadian hockey team….

…O’Dowd’s character, “The Fist,” who lives in an RV beside a Manitoba strip club and occasionally slips into the teachings of his Highway To Heaven-centered upbringing, is the funniest in conception, but gets the least to do.

Cloverfield Paradox (2018)

This movie was released on television in February 2018, and according to one article I read, it is receiving bad reviews from just about everyone. O’Dowd has a role in this movie:



By Adam Epstein – Feb. 2018

For a few wonderful hours, The Cloverfield Paradox was going to be one of the coolest movies of the year.

And then people watched it.

During the Super Bowl last night (Feb. 4), Netflix aired a surprise trailer for its latest film, The Cloverfield Paradox—the third entry in the mysterious Cloverfield sci-fi franchise.

The oft-delayed film was believed to be a Paramount Pictures release, so it was to the shock of many that the film had at some point been passed off to Netflix, and that the streaming service was planning to release it immediately around the world right after the big game ended.

Such a release strategy was totally unheard of.

…. Netflix was not only announcing that it, and not Paramount, would be releasing The Cloverfield Paradox, but it was also putting out the film with zero marketing behind it save for the one Super Bowl ad. The announcement took social media by storm, as movie fans and critics alike fevered in anticipation of this ultra-buzzy sci-fi film.

Yet this story does not have a happy ending. As promised, Netflix released The Cloverfield Paradox immediately after the game, and since then reviews have trickled in slowly. They’re unanimously bad.

The Hollywood Reporter called it “a trainwreck of a sci-fi flick.” The Guardian called it “an unholy mess.” One common theme in the reviews was that The Cloverfield Paradox felt very much like a banal made-for-TV movie. And while that might not be what Paramount envisioned for it, that’s ultimately what it became.

Via The Hollywood Reporter:

‘The Cloverfield Paradox’ – Film Review


Feb 2018

The bottom line: Can we just let the monsters devour this franchise, already?

It comes to this: Movies treated like high-profile advertisements, slotted into post-Super Bowl premieres as if they’re ads for corn chips or high-fructose sodas.

A trainwreck of a sci-fi flick bent on extending a franchise that should have died a peaceful death almost exactly one decade ago, Julius Onah’s The Cloverfield Paradox follows the lead of the far-superior 10 Cloverfield Lane in imagining a Cloverfield spinoff whose genre ingredients have little to do with the original found-footage, giant-monster flick.

Dumped by Netflix in a high-profile but logistically poisoned post-Super Bowl time slot, it comes with a built-in excuse:

If most viewers are snoring on the couch by the half-hour mark, maybe it’s because they’ve spent several hours guzzling beer and eating chicken wings? A theatrical release would likely have been disastrous for this dud; with any luck, it will be forgotten amid tomorrow’s hangovers.

One of the more rushed and muddled opening sequences in recent memory introduces the space station where Paradox takes place, whose crew will run a particle-accelerator experiment that may somehow produce enough free energy to fuel a troubled world.

…Early in the film, the station suffers an unexplained power surge. Soon after, the astronauts realize that Earth, usually sitting just outside their portholes, is nowhere to be seen.

They’ve bounced through some kind of, you know, blip in the space-time continuum, landing in a new reality:

Here, colleagues they’ve never met can be found trapped inside the station’s walls, begging to be rescued from the power cables embedded in their bodies.

Soon, a maintenance worker (a woefully misused Chris O’Dowd) will find himself losing an arm during a routine chore — and that arm will turn up later, moving of its own accord, even scrawling messages that seem to be sent from the universe the crew has left behind. Or from the one they’re in now. Or something. 

‘The Cloverfield Paradox’ Review: Netflix’s Super Bowl Surprise Is a Game-Changing Way to Watch a Godawful Movie

February 2018 update:

Netflix viewing figures for costly projects The Cloverfield Paradox and Altered Carbon revealed

It seems the streaming service’s gamble may not have paid off 

The rare viewing figures of two of recent Netflix additions – including surprise sequel The Cloverfield Paradox – have been released.

Audience numbers for the streaming service’s titles aren’t usually released, however, Nielsen has acquired data which reports that the J.J. Abrams-produced film amassed 5m views after as many days in the US.

That’s 6m less than Will Smith fantasy film Bright which shot to the top of Netflix’s most successful list after racking up an audience of 11m in just three days following its pre-Christmas release in December 2017 (it should be noted David Ayer’s film was released on a Friday and The Cloverfield Paradox on a Sunday night).

These figures will still undoubtedly be deemed a disappointment by Netflix who reportedly paid $50m to release the $40m budgeted film after acquiring it from Paramount Pictures who originally planned to release the film, originally titled God Particle, in April.

Again, remember, Chris O’Dowd appeared in this “Cloverfield Paradox” movie:

Could Netflix Be Giving Up on Prestige Films?

by David Sims

The surprise release of The Cloverfield Paradox, along with acquisitions of other schlocky genre movies, suggests the company is leaning in to its “direct-to-video” approach.

…Forget acquiring or making its own films—Netflix has been buying up big-budget studio projects, all of them in the sci-fi/horror genre, and dropped its first prize, The Cloverfield Paradox, with maximum fanfare on Super Bowl Sunday.

…Netflix’s approach in both TV and film has always been to keep original content constantly churning, but while small-scale independent projects were the backbone of that strategy in 2017, glossy B-movies seem to be the name of the game so far in 2018.

…Apparently satisfied with the parameters of that deal, Netflix began talking to Paramount about another of its troubled sci-fi projects, a movie tentatively titled God Particle [which was renamed to Cloverfield Paradox].

Produced by J.J. Abrams, the film had been in development for years as a smaller-budget genre movie, before getting greenlit by Paramount at a more expansive $40 million cost. From then, it was consistently moved around the schedule, originally intended for a 2017 release, before finally being set for April 2018. Then, in January, Abrams and Paramount changed their minds and approached Netflix, which reportedly paid more than $50 million to take it off their hands. Retitled The Cloverfield Paradox, the film debuted with a splash after the Super Bowl to universally negative reviews.

But the reviews barely matter. For Paramount, another potential problem film was offloaded for a good price (although consistently selling off projects reflects poorly on the studio’s trust in its filmmakers). For Netflix, it got to release an expensive-looking title as an exclusive without going through the slow production process. The word is now out to studios: If you have a movie you’re not interested in releasing, give Netflix a call.

… Essentially, Netflix has “direct-to-video” built into its release strategy, so why not embrace the pulpier side of that approach?

…As long as studios keep making movies and worrying about their box-office potential, seemingly, Netflix will be there ready to snap them up. Eventually, the company may tire of feasting on other studios’ scraps, just as it tired of buying up festival hits. But for now, it seems like the easiest way to keep the content coming.

‘The Cloverfield Paradox’ Is an Embarrassingly Bad Movie … but Still a Win for Netflix (Feb 2018), by K. Austin Collins

“The release hype of a surprise drop shouldn’t obscure the fact the film itself is incompetently written and blandly directed”

See Also:

If You Enjoyed Actor Chris O’Dowd as Nathan Rhodes Avoid Him In These Other Roles – Re: Bridesmaids Movie (Part 1)

Chris O’Dowd’s Terrible Acting – He’s A Bad Actor

Actor Chris O’Dowd’s Bad American – and Irish – Accent

Actor Chris O’Dowd is a Great Big Jerk – Not Adorable, Not Nice, and No, Not Sexy

The Inconsistency of Actor Chris O’Dowd Regarding Religion – His 2017 Comments

“Miscast,” “Wasted,” and “Impressive Resume’” – The Cliches and Inaccuracies in Entertainment Coverage or Movie Reviews about Actor Chris O’Dowd

From Vulture: Every Netflix Original Movie, Ranked – O’Dowd Appears in Two on the List, and the Reviewer is Not Impressed with the Films

Nice Guy Typecasting: Other Than His Role in ‘Bridesmaids,’ I’ve Never Really Seen Actor Chris O’Dowd Play a “Nice Guy.”

Actor Chris O’Dowd Silent on Hurricane Harvey Victims but Not Islamic Migrants

Blocked by Actor Chris O’Dowd on Twitter

Is Netflix the New Straight-to-Video? by Prospero  

Why Art Shouldn’t Be Separated From The Artist by Sharon Loeffler

New Atheist Richard Dawkins Dis-Invited to Speak by Libral Berkley Radio Station for Criticizing Islam

Actor Chris O’Dowd’s Misunderstanding of the ‘Bridesmaids’ Movie Annie Character

If the Nathan Rhodes Character Acted in the Bridesmaids Movie the Way Actor Chris O’Dowd Does In Real Life, Most Women Audience Members Would’ve Hated the Character

The 1976 Rocky Movie in Light of Sexual Abuse Allegations Against Sylvester Stallone

Melissa McCarthy and Discouraging Comments – Re: Bridesmaids Movie

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