Back in the day, Pop sold a zillion copies and made young girls go weak in the knees. But the band breaks up when lead singer Colin successfully launched a solo singing career (George Michael-Andrew Ridgeley style). In comparison fellow-band member Alex Fletcher's (Hugh Grant) solo album, sells less than 50,000 copies, of which, by his own admission, 'most were bought by his own mother'.

Now, he's trying to resurrect a decadent career in the US, and the daily bread comes from performing Pop's biggest hits at amusement parks and high school reunions. Audiences mostly comprise ecstatic, middle-aged women (die-hard Pop fans way back), who swoon over his (very comic) pelvic thrusts and 'tush' wiggles, as their hubbies look on rather disdainfully.

Brad Garett (that lovable cop, sibling rival and butt of everyone's jokes in comedy sitcom Everybody Loves Raymond) plays Fletcher's manager Chris. There's a potential break on the horizon; Fletcher must write a song, and if selected will get to perform it with Cora, a hip-wiggling Shakira look-alike. The catch: he has to whip it up in three day's flat.

But he's no good with lyrics. In waltzes Sophie Fisher (Drew Barrymore), a substitute for the lady who usually waters his plants. This girl comes with tons of baggage. She got involved with her mentor-professor, who post dumping her, went on to write a best-selling novel based on an aspiring writer, who has an affair with her college professor, to further her own career aspirations. Sophie's confidence in her writing plummets and she now markets weight-loss products for her sister's Rhonda's (Kristen Johnston from comedy sitcom Third Rock From The Sun) business. By accident, Fletcher discovers that she's a whiz with words, thoughts and lyrics, and convinces her to help him out. 

Though the film's plot is reed thin, and the chemistry between the lovers is anything but star-crossed, Hugh Grant rocks as a pop star has-been. He's got this washed out look (a side effect of too many drugs and alcohol), and you can't help but like his underdog-like character, which simultaneously has you feeling all sorry for it.

Fletcher views himself as a terrible musician and doles out mediocre stuff by habit. But what's amusing is his ability to constantly self-deprecate by being the butt of his own jokes. Thus giving rise to the funniest lines in the film, which drip sarcasm and will have you rolling in your chair. Grant also sings the songs himself, and though he's not a great singer, he's sincere and fun, besides being prone to amusing body twisting dance moves.

Barrymore, minus the squeaky voice, is still not believable as the mule-headed, intellectual, passionate, talented, Sophie who also, ironically, has a tendency to self-deprecate. Sophie could have been made more interesting by say, a Keira Knightly with an American accent.

Garett is somewhat wasted and Johnston is mostly annoying. Indian American actor Aasif Mandvi (Mystic Masseur) has a teeny-weeny role as the 'tone-deaf but supportive' building receptionist Khan, who patiently listens to lots of bad music by the duo.

Overall MAL is a treat to watch for its hilarious take on today's and 1980's pop culture, and most importantly, Grant, who takes it away.

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