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27 Dresses is harmless enough and moves along predictably and pleasantly until the third act when writer Aline Brosh McKenna finds it necessary to provide a psychosocial explanation for Jane's caring for others while placing herself at the back of a very long bus: Losing what little edge the film had until then (and, quite frankly, I didn't believe any of Tess's instant conversion to humanity), predictability quickly devolves into formulaic pabulum, as everyone's true character is revealed and a fairy tale lives happily ever after

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