Titular ball scene, fancy dress makeover and lost stiletto shoe notwithstanding, the chaste nominal romance is less interesting than the fun, family-friendly Shakespearean shenanigans are.
A frothy little nothing of a Canadian updating of “Cinderella” set in the Canadian fashion industry. But the shoe doesn’t quite fit in this slow-footed farce, a vehicle for pretty blonde Portia Doubleday (“Youth in Revolt”).
After The Ball commits its most garish faux pas in rooting its plot in the thorny politics of high fashion, despite an apparent lack of any understanding of how the business works.
Featuring enough stereotypical characterizations and situations to fuel a dozen artificial rom-coms, After the Ball pretty much drops the ball in every aspect.
