'Tiptoes' (2003) - Matthew Bright.

Dudely stud Matthew McConaughey plays 'Matthew McConaughey' to Kate Beckinsale's adorbs Kate Beckinsale with their dramatical matters being exquisitely enlivened by the sudden, and entirely unexpected arrival of Steve's (McConaughey) Dwarf twin brother Rolfe (Gary Oldman) turning up uninvited on her doorstep thereby single-handedly galvanizing the ongoing melodrama as the sublimely beauteous and increasingly distraught Carol (Beckinsale) discovers that she is pregnant, her elation visibly not shared by her strongly baby-resistant, muscle-headed, blond-haired fireman beau-chested beau!

Ostensibly a delightfully skewed Rom-com but ultimately proving to be a far more fascinating proposal than the uber-blond one's nadir 'Failure to Launch', partially due to the wickedly bizarre, ceaselessly shifting tonality, drunkenly lurching from crude farce, slapstick silliness and entirely earnest melodrama, which frequently threatens to go full 'Pink Flamingos' but somewhat remarkably remains sweet-natured until the not unpleasantly saccharine climax. Much of 'Tiptoes' more refined comedic elements coming from the delightfully misfit couple of luscious Patricia Arquette and the no less scrumptious Peter Dinklage, their tumultuous love affair providing a great many amusingly ribald scenarios.

 The film's narrative anchor is quite clearly Oldman's sensitive, insecure Rolfe who provides the essential gravitas that engenders a dramatic curiosity like 'Tiptoes' with a much bigger heart than one might initially think possible. Somewhat neglected over the years Matthew Bright's admittedly uneven family drama is not quite the movie misshape some might suggest it is. While remaining a singularly odd proposition that might not be endowed with broad appeal, this bizarre little love story has much to recommend it, not least being Gary Oldman's moving portrayal of the emotional and physically beleaguered Rolfe which so effectively plucks at the ol' heart strings. Whether anyone else might share my appreciation of Bright's altogether credible filmmaking folly is hard to say, perhaps it will remain a rarefied pleasure, while not everything herein works seamlessly, with some of the more awkwardly conceived scenes feeling a trifle forced, overall it is never less than engaging and occasionally being remarkably honest, granted, just because something is deliberately 'different' doesn't automatically guarantee cinematic worthiness or narrative interest but in this case 'vive la differance!' 

'The dramatic curiosity 'Tiptoes' has a much bigger heart than one might initially think!'