In addition, the Gallic theme to the soundtrack and an eventual sojourn to the City of Love are designed to evoke the Midnight in Paris director's style and sphere of influence without ultimately meaning very much. More problematic is that neither Quinn, nor his escalating predicament, provoke the laughter or empathy that the audience are longing for. Indeed, as the end draws near, questions begin to rear their heads about whether Quinn really deserves any of the women that he seems to be continually treating badly. In particular, one can actually sympathise with suave European Guillaume (Ebon Moss-Bachrach) who threatens to steal Devon away from the hapless protagonist once and for all.
That's not to say that there are not positives, though. The direction from Helberg and Towne is assured for an inexperienced team - stylish as befits their chosen genre. Equally, when the moments of pathos work, they really work and a late piano solo does manage to hit the right notes. Unfortunately, that happens all too rarely in a script that sorely lacks the spark that would ignite We'll Never Have Paris. Never quite funny, clever or romantic enough to bear such illustrious comparisons as it is shooting for, Helberg and Towne's debut still suggests a bright future for the duo.
The 68th Edinburgh Film Festival takes place from 18-29 June 2014. For more of our EIFF coverage, follow this link.