50 First Dates

Tags

2000's, 50 First Dates, Adam Sandler, Blake Clark, Comedy, Dan Aykroyd, Drew Barrymore, Peter Segal, Rob Schneider, Romantic Comedy, Sean Astin

Delightfully funny and surprisingly touching romantic comedy, enlivened by burgeoning and fantastic chemistry from Adam Sandler and Drew Barrymore, 50 First Dates is a cut above a lot of romantic comedies. 

Henry Roth(Adam Sandler) is a womanising, love them and leave them guy who works as a marine vet in Hawaii. His usual policy is to make up fabricated stories with attractive tourists, give them a good time then leave them . That is until one day he walks into his local diner and spots the beautiful art teacher Lucy Whitmore(Drew Barrymore). But with Lucy it’s different as he finds himself feeling love for the first proper time. This budding romance however is dampened by the news he receives the following day. and being rejected by her, it’s explained to him that Lucy was in a car accident a year prior. The injuries she sustained have rendered her without the ability to create new memories, so every morning she wakes up thinking it’s the day of the accident but doesn’t know about the trauma. All her memories from before the accident are there which include the preparations for her father’s birthday; it’s the forming of new memories that’s the problem. Her protective father Marlin( Blake Clark)and steroid using brother Doug( Sean Astin) have even made it look like it’s the same day as a re-enactment as they don’t want her to deal with the emotional turmoil and knowledge of what happened to her. With this knowledge that the woman he cares for has short term amnesia, vows not to give up on what he sees as his shot at proper love. are none too pleased with this and warn Henry against pursuing this. But Henry is nothing if not determined to continue a romance, even if it means having to recount every day to Lucy in the hopes of breaking through her gaps in memory. With the help of a video camera and a diary, he might just do the trick, or so he hopes as he resolves to win her each day. Will romance blossom in this unlikely and unusual relationship that is fraught with setback yet filled with hope? You’ll have to watch in order to find out.

Peter Segal directs with a real feel and sweetness, which makes 50 First Dates flow very well. The location of Hawaii is a gorgeous backdrop for the film it must be said and a joy to view.While it still has some hallmarks of what you expect in a film starring Adam Sandler such as a bit of gross out humour and questionable elements , 50 First Dates is a far more gentle affair with warmth and an unexpected depth in parts. Not all of it works but it has a bit more edge than your average romantic comedy and I commend it for that. Plus, you find yourself really caring for the two characters at the heart of it. Sometimes in films of this ilk, the characters can mjst become. Thankfully, 50 First Dates actually delves into these characters and let’s us experience things with them. Hats off to the film for allowing that to happen and not just settling for the same old story. That’s not to say it’s flawless( some supporting characters and parts aren’t that great it has to be stated), but it definitely rises above other movies within the genre. A nice selection of familiar songs , done to a reggae style is also a treat for the viewer.

Adam Sandler is often an actor I can take or leave, but he’s just right here. He dials down on the frat boy antics and stupidity, choosing to okay things with humour but relatively straight. This approach works and it’s one of Sandler’s least irritating performances. Drew Barrymore is the MVP here contributing a genuine, lovely and luscious performance. Barrymore is the possessor of one of the most adorable and sunny dispositions to be put on film and it’s used beautifully here. Rather than just be a sad character, she lets us feel how Lucy is a happy girl slowly realising that romance isn’t easy due to her condition  and her desire to remember is supremely touching and filled with a sense of hope. I think that as a film, 50 First Dates has an ace in the hole in the chemistry between these two that is totally infectious. Rob Schneider has a few laughs as Henry’s stoner friend, but becomes a nuisance as the film progresses. More believable and standing out are Blake Clark and Sean Astin as the concerned father and brother of Lucy. They bounce off one another with humour and character, particularly Astin as a steroid loving wannabe bodybuilder who thinks he’s tough, yet is a long way from that. Kudos to Dan Aykroyd as well for a very good turn as Lucy’s wisecracking doctor. 

So all in all, 50 First Dates is an enjoyably funny, gentle and romance that hugely benefits from the rapport of Adam Sandler and Drew Barrymore and a deftly told story of a different but lovely coupling.

Four Weddings and a Funeral

Tags

1990's, Andie MacDowell, Charlotte Coleman, David Bower, Four Weddings and a Funeral, Hugh Grant, James Fleet, John Hannah, Kristin Scott Thomas, Mike Newell, Richard Curtis, Romantic Comedy, Rowan Atkinson, Simon Callow

Director

Mike Newell

Starring

• Hugh Grant
• Andie MacDowell
• Kristin Scott Thomas
• Simon Callow
• John Hannah
• James Fleet
• Charlotte Coleman
• David Bower
• Rowan Atkinson

A most beguiling and funny romance that helped launch the career of Hugh Grant, Four Weddings and a Funeral has lost none of its witty edge, eccentric characters and unexpected pathos.

Charles(Hugh Grant) is someone who can’t seem to keep a relationship. He’s a perennial bachelor, never the groom. With a rag-tag group of friends- cynical Fiona(Kristin Scott Thomas), her not too bright brother Tom(James Fleet), partners Gareth and Matthew(Simon Callow and John Hannah), sassy flat mate Scarlett(Charlotte Coleman) and his deaf brother David(David Bower)- he’s always attending weddings. In most cases, he is late due to clumsiness. Although he’s never seemingly considered marriage or a serious relationship, he finds his world changed when he meets Carrie(Andie MacDowell). She’s an American wedding guest who he meets at the first nuptials. They hit it off and  spend the night together. But timing isn’t on their side and Carrie leaves for the States. The next time they meet(at another wedding) Carrie is engaged to someone else. For the first time in his life, Charles actually falls in love with someone deeply. But even though it’s clear that Carrie has some feeling for Charles, can anything come of the attraction seeing as though their timing is nearly always off?

Director Mike Newell brings polish and pace to proceedings with direction that allows the events to have amusing and fun atmosphere throughout, coupled with moments of sadness and reflection. As the events centre around the what the title says, we know to expect eventfulness, but it’s surprising how well crafted this romantic comedy is. Although it seems we may know where events are going, a few little twists and unexpected moments raise it from just another comedy romance. The Oscar-nominated screenplay from Richard Curtis is a big success at fleshing out the characters as they navigate the sea of love. The script makes us enjoy the company of these people and we grow to love them. They all have wit, charm and purpose in the story and you enjoy feeling like you know them as they encounter all manner of awkwardness at functions. From being seated at a table of exes to improvising when forgetting wedding rings, they all occur in hilarious fashion. Between the skill of Newell and the fun of Curtis, Four Weddings and a Funeral is a good-hearted success. Laughs flow like great wine and the entertainment factor is high.

But Four Weddings and a Funeral also has a bittersweet undercurrent to offset any worries of overly sentimental treacle. I mean if you aren’t crying at the funeral scene where ‘Funeral Blues’ is delivered, you’ve clearly not got much of a heart. This movie can deliver on the serious stuff and isn’t afraid to either. This balances with the buoyant feeling of the overall film that has a laugh at love’s complexities and bad sense of timing. Four Weddings and a Funeral is heartwarming stuff with that added something extra, that lands it in the pantheon of excellent romantic comedies. A lovely and tentative score backs up blossoming romance and all the feelings love brings out in people. And one can’t forget the use of ‘ Love Is All Around ‘by Wet, Wet, Wet to close out the film.

Heading the cast is the irrepressibly charismatic Hugh Grant. Though he’s visited the persona of bumbling and foppish leading man many times in his career, this was where it started and is one of his best. Grant just boasts this lovable rogue and awkward vibe to him that really makes a mark in the film as he finally discovers love may in fact be on the cards for him. Endearing is the perfect word for Hugh Grant’s star making presence here. People occasionally rag on Andie MacDowell by saying she’s not the most expressive actress and sometimes it’s true ,but I think she is quite well cast as the potential love interest. She’s got radiance, vitality and a certain mystery that I love and displays they under good direction MacDowell is really something.  Plus her burgeoning chemistry with Grant is delightful. Kristin Scott Thomas is reliable as ever, turning the role of the sarcastic Fiona into something more by revealing that her behaviour stems from unrequited love. Simon Callow and John Hannah are wonderful scene stealers playing the only happy couple among their group of friends. Callow is brash and full of life, Hannah is more subdued but wise. Both compliment the other in an inspired way that is convincing and involving. James Fleet is a hoot as is Charlotte Coleman as the most off the wall member of the gang and David Bower as Charles’ brother, who comes in handy in a crisis. An amusing small part is filled with great humour by Rowan Atkinson as a completely inept vicar.

A winning romantic comedy with heart and laughs, Four Weddings and a Funeral is hard to resist.

Priceless

Tags

2000's, Audrey Tautou, Comedy, Foreign Language Film, Gad Elmaleh, Marie-Christine Adam, Pierre Salvadori, Priceless, Romantic Comedy

Film Title

Priceless

Director

Pierre Salvadori

Starring

• Audrey Tautou as Irène
• Gad Elmaleh as Jean
• Marie-Christine Adam as Madeleine

A very satisfying romantic comedy about wealth and gold digging, Priceless is an amusing confection of sprightly energy and winning charm. Just like the main character, Priceless is deliciously naughty and amoral, but always immensely enjoyable.

The captivating Irène enjoys the high life, especially when a man of wealth is paying for it. With her abundance of charms and feminine wiles, she’s armed for digging for gold wherever she can find it. Frequenting the French Riviera with her latest conquest who is boring her, she encounters put upon bartender Jean one evening. The amusing thing is Irène assumes he is a rich man of the world by his appearance. Not telling her the truth, Jean and her share drinks and laughs. Later, things are taken to the bedroom. In the morning, Irène has left and Jean is left thinking of her. A year later, Irène returns to the hotel with her sugar daddy in tow, where she promptly seduces Jean once more. Only this time, Jean gets busted and the truth of his status is revealed. This coincides with Irène’s latest squeeze leaving her with nothing money wise and jilting her quickly. A shocked Irène high tails it to Nice, not realising how smitten Jean is with her. Instead of just forgetting her, Jean finds her and attempts to woo her. takes full advantage of this as her expensive tastes nearly bankrupt the far from affluent Jean. Panicking when his finances are tight, Jean is saved by wealthy widow Madeleine. She has been looking for a new toy boy and Jean fits that bill. Surprisingly, Jean finds he has a knack for gold digging too, with the main objective being to romance Irène in the end . Irène is quite impressed by this show of initiative and offers help in the business she is well acquainted with. Transformed from hapless bar tender to jet set smooth talker, he even begins rivaling her at the game of money. Seeing how successful he has got , Irène comes to see Jean in a new light, which puts her plans for finding another rich man in jeopardy as her personal feelings enter the picture.

Pierre Salvadori is in the director’s seat for this frothy and charming comedy. He knows the way to keep events bright and breezy, before colouring them with a bit more depth than most romantic comedies strive to reach for. His eye for humour and timing, most notably in Jean’s attempts to be seen as a prospect to the girl he loves is what really gets the most laughs. The scenario of the film is hardly what one would call groundbreaking, but enjoyment is the name of the game and Priceless rises to the occasion admirably. Depending on your tolerance level, you’ll find Priceless irresistible or too arch. For me, I fell into the former camp by miles. It’s the old-fashioned vibe and nods to romantic comedies of yesteryear that Priceless excels at emulating, and giving it a bit more than the average modern Hollywood rom coms that we are witness too. What you get here is riotous fun that also stops to consider why Irène would go on the path of a gold digger in the first place. A nice depth arises from that strand of story that definitely caught my attention.  As a movie that deals with the rich and well-heeled, Priceless looks gorgeous, supplying us with picturesque and chic views of the French Riviera. Trust me, you may be considering holiday plans after watching Priceless. The extravagance on show and just the overall seductive view of the rich life is swoon worthy. A sparkling and amusingly jaunty score accompanies the film with effusive energy and playful rhythm.

The talented Audrey Tautou supplies slyness, allure and even a bit of desperation as the material girl everything revolves around. Irène is someone who clearly has a plan to snare someone rich and enjoy the high life at the same time. Tautou makes Irène a minx but not one that is completely unlikable. Sure she goes after men’s wallets more than their hearts and practically obliterates most of Jean’s income in the beginning, but with Audrey Tautou the beguiling persona and glimpses of someone not wanting to fall by the wayside are felt by the audience. Gad Elmaleh is blessed with a sad-eyed expression and certain lugubrious charm to make the part of Jean work. Jean is something of an unlikely gigolo, which is a strength Gad Elmaleh and his lanky appear de play to masterfully. Elmaleh like he’s having fun as the love struck man pursuing the woman who captured his heart and trying to play her at her own game. The enjoyment factor from both him and Tautou transfers to the audience, paying great dividends. Marie-Christine Adam appears as the glamorous widow attracted to Jean, and though the role is more than a tad underwritten, she possesses the elegance and worldly appeal of a successful older woman.

It’s not the most sparkling brand new formula for a romantic comedy, yet the very nature of romantic comedy is to recycle, preferably with style. Which is what Priceless does, with witty aplomb and hilarious high jinks between two potential lovers on the make. With Audrey Tautou and Gad Elmaleh making a fun couple, you can’t really ask for more enjoyment because it’s a frothy and sweet movie that will make you laugh and smile.

 

Something’s Gotta Give

Tags

2000's, Amanda Peet, Diane Keaton, Frances McDormand, Jack Nicholson, Keanu Reeves, Nancy Meyers, Romantic Comedy, Something's Gotta Give

I was kindly asked by the wonderful Gill to take part in the Jack Nicholson blogathon. This is to celebrate the great man’s work as he turned 80 yesterday. I’ve always liked Nicholson’s work in a variety of films so it was nice of her to ask me to join in and sing his praises. If you want to be entertained, Nicholson is your man. Anyway back to my review.

Film Title

Something’s Gotta Give

Director

Nancy Meyers

Starring

• Jack Nicholson as Harry Sanborn
• Diane Keaton as Erica Barry
• Keanu Reeves as Dr Julian Mercer
• Amanda Peet as Marin Barry
• Frances McDormand as Zoe

A sprightly romantic comedy about unexpected attraction in middle age, Something’s Gotta Give is an amusing showcase for both Jack Nicholson and Diane Keaton. Sure it has its contrivances, but there’s something very amiable and surprisingly touching to this film that makes it stand out from the endless pack of romantic comedies we are assailed with.

Harry Sanborn is a successful man in his 60’s, he owns a music company and his main passion in life is easy relationships with women who are much younger. The old dog has a rule of not dating a woman over 30, which keeps his status as a perennial playboy steady. His latest conquest is the pretty Marin, who invites him to her mother’s beach house in the Hamptons, thinking that her mother Erica is busy somewhere else. To her surprise, Erica, who is a successful divorced playwright, returns with her sister Zoe and is shocked to find her daughter and Harry are something of an item. Zoe talks her round and Erica reluctantly lets Harry stay, despite her immediate dislike for him. The evening gets eventful when Harry has a heart attack when preparing for sex and is subsequently hospitalized. Informed by his doctor that he can’t travel far and must recover nearby, he ends up recuperating in Erica’s house, much to her annoyance. Harry finds Erica to be overly uptight and prickly, while Erica thinks of Harry as just a rude and uncouth womanizer. Yet being forced to take care of Harry has its impressions on Erica, whether she likes it or not. The two start out at complete odds over their ideas of the other, yet quickly these differences start to wilt and an attraction begins to form. Both of them don’t quite know how to react to this unexpected creation, though it definitely makes both take stock of things and possibly open up to welcoming love. Yet as Harry recovers, his stay at Erica’s is cut short as his health improves. As the two have now grown to love the other unexpectedly,  it’s up to Harry to decide whether he can truly change or return to his usual life of being a playboy. Add to this equation, Harry’s young doctor Julian taking a romantic interest in Erica, much too her surprise and things are about to get interesting.

Nancy Meyers provides breezy direction and writing, that still retains substance through how well-crafted the characters are. Meyers supplies a good helping of unpredictable moments to Something’s Gotta Give, that pay off and make it a funny watch. There’s something quite rejuvenating at seeing two people in the middle of their lives find romance, there are too few movies that deal with attraction among mature adults. Now it must be said that the movie does over stay its welcome due to the length of it and how it does dabble in levels of seen it all before. Generally though, Something’s Gotta Give gains major points from the casting, humorous yet moving writing and the tone of the piece. There is a level of genuine heart to things, as Erica’s seemingly comfortable existence is challenged by someone she never though she’d like. Observing the changes the attraction has for them both provides Something’s Gotta Give with a surprising emotional core, coloured with side-splitting comedy( such as Harry walking in on a naked Erica, ensuring much awkward encounters). I appreciate when a comedy has depth to it, as too many comedies forget that you sometimes need drama for the laughs to work.

Jack Nicholson is a devilish yet revealing presence as the ageing playboy, realising that life may be catching up with his lifestyle. I enjoyed how Nicholson sort of sends up the public’s persona of himself( the grinning Lothario who always looks like he’s up to something naughty), yet colours it with a surprising amount of vulnerability too. It’s an unexpected turn from him that has all his wolfish tics and adds a healthy dose of open humanity to the mix. He truly makes the part his own and I can’t imagine anyone else in the role. Diane Keaton gorgeously plays off Nicholson as the self-sufficient playwright, discovering that romance could still be on the cards for her despite her assertion that she’s passed it. A sophistication, humour and convincing clarity can all be seen in Keaton’s work, that makes you enjoy being in her company as her professional attitude makes way for touching revelation. Any romantic comedy largely succeeds or fails on the chemistry between the leads; Something’s Gotta Give joyfully fits into the former. You just get this natural and glowing way that Nicholson and Keaton interact, that really brings out the heart of both people who overcome differences to find that they might be right for each other. Then you have Keanu Reeves as the dashing doctor that could only ever appear in a romantic comedy. Reeves seems to realise this and plays the part amusingly as a sort of spoof of the dishy man in uniform that couldn’t possibly exist in real life. Amanda Peet provides sparkling energy, albeit in an underused capacity along with a wise-cracking but too little seen Frances McDormand.

So while it runs too long and isn’t above being slightly formulaic, Something’s Gotta Give has enough sharp writing and cracking performances, particularly Jack Nicholson and Diane Keaton, to make it a delight.

Crazy, Stupid, Love

Tags

2010's, Analeigh Tipton, Comedy, Crazy Stupid Love, Drama, Emma Stone, Glenn Ficarra, John Requa, Jonah Bobo, Julianne Moore, Kevin Bacon, Marisa Tomei, Romantic Comedy, Ryan Gosling, Steve Carell

Film Title

Crazy, Stupid, Love

Directors

Glenn Ficarra and John Requa

Starring

• Steve Carell as Cal Weaver
• Ryan Gosling as Jacob Palmer
• Julianne Moore as Emily Weaver
• Emma Stone as Hannah
• Kevin Bacon as David Lindhagen
• Marisa Tomei as Kate
• Jonah Bobo as Robbie Weaver
• Analeigh Tipton as Jessica

A very disarming romantic comedy, that brings in touching drama effectively, Crazy, Stupid, Love guarantees laughs and sympathy with a big heart and fabulous cast. This is for my money, one of the better romantic comedies in years.

Middle-aged Cal Weaver’s life looks like it’s going swimmingly; he’s long time been married to high school sweetheart, has two children and a good job. But this is about to take a sever nosedive as Emily reveals that she has cheated on him and now wants a divorce. Dejected and shocked, he drowns his sorrows at the bar. While there, resident Lothario Jacob Palmer takes sympathy on depressed Cal and offers to help him turn his life around. Cal accepts and smooth-talking Jacob soon has him growing more confident with a makeover and tips regarding the dating scene. Cal finds that after getting awkwardly to grips with dating, he can be quite a guy and a real charmer with the ladies. Yet while gaining confidence and his mojo back, Cal can’t help but feel that something is missing and that he may have to confront the feelings he still has for Emily. Meanwhile, Jacob finds himself falling for law student Hannah, who initially rebuffed him but wants some excitement in her life after feeling that her steady but dull boyfriend is not what she was looking for. Because he has always been the player, Jacob doesn’t know how to approach the possibility of love. Also feeling the pangs of love is Cal’s son Robbie, who has a hopeless crush on his pretty 17-year-old babysitter Jessica( who it transpires has feelings for Cal herself). Much hilarity and unexpected results abound as a result of love.

Directors Glenn Ficarra and John Requa really know what they’re doing with this kind of project and ensure that the laughs flow just as much as the drama of it all. By far the largest and best thing Crazy, Stupid, Love has in its artillery is a snappy script. There is a devilish and side-splitting back and forth there;particularly in regards to the Cal and Jacob parts of the movie( the makeover of Cal is a very hysterical part), as well as a good few cynical jabs at pop culture’s idea of romance. What set apart from many other film of the crowd, was that it let the characters be flawed yet likable. With too many comedies, it becomes a case of us always having to like the characters all the time. Crazy, Stupid, Love does things differently by equally making time for the humorous aspects of the players and blending with the touching insights we get to them, expressing their insecurities and desires. The movie never ceases to be hysterically funny and irreverent, but the added parts of drama give it a lot more impact and made it a better movie that what I expected it to be. And rather than be overly predictable, there are some extremely well-timed surprises along the way, bolstered by a genuine heart and sympathy. Love and relationships are depicted as funny, complex and unexplainable, but always there no matter what. A gentle and amiable score perfectly matches the events on screen in a very accomplished way that doesn’t overstate things. The only niggle I found was that the film was a tad too long, but honestly that was the only thing in a very funny and satisfying movie.

A winning cast is the proverbial cherry on top. Steve Carell is inspired casting as the hapless Cal, who doesn’t know what to do with his life after discovering the infidelity of his wife. The required awkwardness, every man quality and emotion is glimpsed, but Carell succeeds the most at displaying his sense of humour once Cal gets a new lease of life. Some of his facial expressions are just so funny and equally touching, often in quick succession and it is hard not to want to reach through the screen and tell this guy that things will work out for him. Ryan Gosling plays remarkably well off the straight-laced and sympathetic Carell with his matinee idol image of a stud put to great use. Yet while his good looks and charisma are all there, he also gets the opportunity to reveal a bit more than just the standard role of the playboy wing man. Both men take up a lot of the story and have a blast doing so. The rapport between them is one of those winning combinations that benefits the other and ensures that the laughs and good nature of Crazy, Stupid, Love come percolating through. The distinctively emotional and expressive delivery of Julianne Moore is very well suited to the part of conflicted Emily. We witness how she begins to rue her decision to ask for divorce, despite being involved with someone else. As usual, Moore is terrific. Emma Stone is a vibrant flash of energy and has some sparkling chemistry with Ryan Gosling, alongside humour to burn. Laughs are also guaranteed courtesy of Marisa Tomei, playing the schoolteacher who sleeps with Cal and then becomes neurotic over him not bothering with her because of his new lifestyle. Her scenes are a real hoot and though the part is small, it’s well-played and memorable. Kevin Bacon has probably the least developed part of the man Emily cheated on Cal with, but has fun with it anyway in the way that he knows how. Jonah Bobo, despite his young years, comes off incredibly confident and mature when playing the young boy mooning over his babysitter crush, while also dispensing advice about love to grown ups. The lovely Analeigh Tipton sweetly portrays the longings of a girl near womanhood and the confusion of it all, very perceptively and honestly.

In fact, it must be stated that Crazy, Stupid, Love features such great chemistry from each cast member, it’s positively infectious.

A simply wonderful and warm slice of romantic comedy-drama, Crazy, Stupid, Love is the kind of the film that will leave you with a massive grin on your face.

Only You

Tags

1990's, Billy Zane, Bonnie Hunt, Comedy, Joaquim de Almeida, Marisa Tomei, Norman Jewison, Only You, Robert Downey Jr, Romantic Comedy

Film Title

Only You

Director

Norman Jewison

Starring

• Marisa Tomei as Faith Corvatch
• Robert Downey Jr. as Peter
• Bonnie Hunt as Kate Corvatch
• Joaquim de Almeida as Giovanni
• Billy Zane as the False Damon Bradley

An effervescent and good-hearted romantic comedy that takes place largely in beautiful Italy, Only You makes for a divinely experience, watching as destiny and fate unravel in fun ways of the loving kind.

In flashback, we are introduced to Faith Corvatch, a young girl who is playing around with a Ouija board with her brother Larry. She asks who her soul mate will be and strangely enough, the board spells out the name Damon Bradley. Her belief that this person will be her true love is given greater anticipation and growing power by a trip to the carnival where a fortune-teller informs her of the name she got from the board. This causes Faith to become all dreamy about the soul mate she hopes to meet in the future. Cut to present day and Faith is now a teacher, who still believes in fate but hasn’t found any clue about the signs from her childhood. At the current minute, she is engaged to podiatrist Dwayne, who is often more busy with work than her . Out of the blue, Faith receives a phone call from the alleged Damon Bradley who is in Italy. Throwing caution to the wind as her destiny could finally come into fruition, she abandons plans of her wedding and takes a plane to Italy. Joining her is Kate, her best friend and sister-in-law, who is currently going through the motions of her marriage to Faith’s brother and considering what to do. Kate is reluctant to come along as she is the more pragmatic one, but Faith wins her over and the two head off on a journey into the unknown. While searching for the alleged man of her dreams, Faith encounters Peter Wright, a witty shoe salesman who appropriately enough meets Faith when she loses one of her stilettos. Hearing her mention the name of her beloved, he pretends to be Damon Bradley as he is immediately love struck by the kooky girl he sees. Though when it comes out that he isn’t Bradley, Faith is annoyed and begins to question the prophecy. The subsequent events lead to consequences that she never saw coming as she attempts to deny growing attraction to Peter. Can Faith make sense of the mystical signs or actually open her eyes to the possibility of Peter as a match?

Norman Jewison directs with an ease and light touch, which makes Only You pleasing to the eye and heart. At times, it may seem like he is riffing on the success of his previous romantic venture of Moonstruck, but his graceful and fun hold on events has a marked difference and more of a mystical tone than the aforementioned film to set them apart, but with both still being wonderful flicks. The best way to summarise Only You is to say that it is an old-fashioned romantic comedy in a contemporary setting, with a few surprises. Cynics will no doubt groan at something like this, but it is supposed to be something of a fairy tale so the leap of faith and magic are to be expected and to be honest, they are difficult to resist once they get a grip on you. Only You isn’t the sort of film that requires a real depth of thought to it as it is light and frothy, though it has moments of bittersweet emotion that help bring substance to the fairy tale side of it. I’m sure everyone has a bit of romance within them that they can see in this film. I mean, you have Italy looking suitably sublime and glowing with magic that is a classy touch(as lensed by the great Sven Nykvist). And there is a genuine unpredictability to Only You, as the wild goose chase takes in numerous comic events and switches as the search for Damon Bradley doesn’t go in the way Faith expected. If you don’t get a laugh or chuckle out of his movie, you really have no feeling of humour as Only You is delightfully written with spirited glee. A gliding and archaic score from Rachel Portman fits the bill of being lusciously composed and amusingly romantic in the tradition of Old Hollywood love stories.

Marisa Tomei exudes a doe-eyed and earnest appeal, that is as playful as a pixie. The character that she plays with her flighty and offbeat qualities could have become an annoyance quickly in the hands of a lesser actress, but not to worry as Tomei is a gifted girl who makes Faith’s eccentricities and actions warm and winning from the very start. And you can’t talk about Tomei in this film without mentioning how adorably sweet and innocent she is, which suits Only You down to the ground. Robert Downey Jr. has a good time as the man who isn’t the one supposedly destined for Faith, but willing to do what it takes to win her heart. Watching as his puppy dog eyes and sleight of hand antics attempt to win her over, plus Downey Jr. has a real physical sense of comedy to him like particularly in his priceless facial expressions. Bonnie Hunt is another standout performer in this film, lighting up the screen as the downtrodden and realistic woman, who finds that a certain suave gentleman takes an interest in her. Hunt has a real way with droll one liners that register many laughs while backing things up with a sensitive showing of uncertainty within the character. Joaquim de Almeida works well with the part of the businessman intent on wooing Kate, and though the part doesn’t call for any great shakes on the acting front, he brings more to it than others could have. Billy Zane is on hand to provide another twist in the story in a very amusing part.

harks back to the romance and comedy of old with a lively confection of a film bound to make you laugh and swoon.

Laws of Attraction

Tags

2000's, Frances Fisher, Julianne Moore, Laws of Attraction, Michael Sheen, Parker Posey, Peter Howitt, Pierce Brosnan, Romantic Comedy

Film Title

Laws of Attraction

Director

Peter Howitt

Starring

• Julianne Moore as Audrey Woods
• Pierce Brosnan as Daniel Rafferty
• Michael Sheen as Thorne Jamison
• Parker Posey as Serena Jamison
• Frances Fisher as Sara

This romantic comedy never quite hits the mark that it is going for in trying to emulate classic battle of the sexes movies, but thanks to good chemistry from the leads, Laws of Attraction is at least an entertaining way to pass the time.

Audrey Woods is a successful divorce lawyer in New York who does things by the book and studiously, which pays off as she has never lost a case. That is threatened however by the recent arrival of the irascible Daniel Rafferty, another divorce lawyer who boasts a similar reputation, but different methods. While Audrey is the analytical and slightly prim one, Daniel gets by on luck and charm. They find themselves continually pitted against the other and this is where a sexual tension builds. Audrey, who has all but given up on the dating scene, has no interest in a relationship after seeing so many just wither away. Daniel on the contrary is extremely attracted to her and wants something genuine out of it, much to Audrey’s chagrin. Yet these feelings may go on the back burner when trashy couple of rock star Thorne and designer wife Serena head to the divorce court. Audrey and Daniel continue to clash in and out of the courtroom, especially when they must visit the couple’s castle in Ireland that both of the squabbling parties wants for themselves. Yet after one specific event during an eventful night for Audrey and Daniel, things between them could very well change, even though each is on the opposing side. The gloves are off as battle commences, yet will the undeniable spark that sizzles between them thaw out or ignite into something else?

Peter Howitt and his direction are passable, but not really setting the world ablaze. Regardless, he displays some talent for humour, despite the slim pickings and silliness of some of the content present. Laws of Attraction isn’t what you would call compelling viewing, and yet there are some good points that can be combed from the mess. It amounts to a pleasing diversion if nothing else, but you are left with the feeling that more could have been injected into the film somehow. The script was amiable and had moments of good banter between the feuding lawyers, but it never had that snap of the romantic comedies of old that it was trying to reference. Undeniably, it has a few laughs in there that occasionally hit the mark very well that I simply can’t deny. But judging the overall experience, there is definitely something curiously uneven about Laws of Attraction that drag it down in my estimations. The chemistry of the leads makes up for some of this, raising the film to a watchable level. There is the glossy style of the film that carries a certain kitsch and archaic quality to it, plus the locations of New York and Ireland are quite stunning. The music provided is pleasing to the ear and more than a little playful. And I did enjoy the retro infused title sequence that is one of the better attempts in the film to have an old-fashioned sense of celluloid. But considering there are good elements in Laws of Attraction, one can’t help but feel there is a void there that needed to be filled.

If anything saves Laws of Attraction from being dull and a complete washout, it has to be most of the cast, in particular the romantic leads. Julianne Moore is one of the most versatile actresses out there and here she shows a whole new different side. Vastly sailing above the by the numbers material, she displays some deft skill at comedy by playing career woman Audrey with a neurotic humour and heart. The tough outer steel of the character is a mask that slips to reveal insecurity and a want for love, all of which is embodied with ease by Moore. She really made me laugh in parts of this film with her quick talking antics and smart yet desperate yearning. It’s hats off to the delightful Julianne Moore in another great performance. Pierce Brosnan plays the rakish sparring partner and love interest. Portraying suave and smooth is nothing groundbreaking for him, but as it is his strong suit, he uses it well in the part. The same can’t be said of Michael Sheen and Parker Posey, who are basically thrown into the mix as a plot device and nothing else. I respect and enjoy watching both actors normally, but the sheer lack of any decipherable role is unfortunate for both of them. The film could have at least called for them to do more as the trashy couple going through the acrimonious divorce. Frances Fisher is the best in the supporting cast. As the Botox-loving, cocktail swigging mother of Audrey, she registers the most laughs in her attempts to be young again through any means possible. Whenever she is on screen, Fisher is a comic delight to be enjoyed.

It never ever reaches full potential and more than often feels rushed, though the acting is fine from Brosnan and Moore. I just wanted something more out of Laws of Attraction, which winds up with me seeing it as a mixed movie.

 

Just Like Heaven

Tags

2000's, Dina Spybey, Donal Logue, Fantasy, Jon Heder, Just Like Heaven, Mark Ruffalo, Mark Waters, Reese Witherspoon, Romantic Comedy

Film Title

Just Like Heaven

Director

Mark Waters

Starring

• Reese Witherspoon as Dr. Elizabeth Masterson
• Mark Ruffalo as David Abbott
• Jon Heder as Darryl
• Donal Logue as Jack
• Dina Spybey as Abby

As predictable as some of it gets, Just Like Heaven at least distinguishes itself from other romantic comedies by having a fantasy element and being able to earn our sympathies as a metaphysical relationship is sweetly but movingly played out.

Elizabeth Masterson is a supremely dedicated and caring San Francisco physician, who as events open is completing a marathon twenty-six hour shift. The hospital is Elizabeth’s whole life and she has little time for anything else. Her superiors tell her to go home and rest and after much resistance she does. Though on the way home where she is to go on a blind date set up by her sister, Elizabeth’s car collides with another in an accident. Three months later through happenstance, David Abbott; a landscape architect still grieving for the death of his wife two years prior moves into Elizabeth’s apartment. What he gets is a real surprise when Elizabeth appears and begins telling him that he is trespassing in her apartment. Bewildered and shocked by the fastidious woman telling him that the apartment isn’t his, David is in for even more of a surprise as he comes to see that Elizabeth is in fact a spirit who only he can see and seemingly communicate with. The pair is then at each other’s throats about this as confusion takes centre stage and David remains puzzled on how this apparently supernatural turn of events unfolds. On the other hand, fussy Elizabeth is convinced she is not a spirit of someone recently deceased even though there is a lot of evidence to suggest this( she can walk through walls and appear and disappear at will). She also has gaps in her memory and call only recall her name. David enlists the knowledge of Darryl, a young bookshop worker who has an unexpected gift of being able to sense cosmic and spiritual energy. Over time, Elizabeth and David’s animosity thaws as they grow closer and Elizabeth manages to get David to open his heart once more after keeping it guarded for so long following his wife’s death. Yet as they begin to warm up to one another romantically and assemble some of the fragmented pieces of why she is a spirit and only David can see her, unexpected circumstances threaten them. Can the growing love between them conquer an uncertain future for the unusual union?

Mark Waters makes proceedings a mixture of humorous and emotional, letting the two main characters work through their differences which are anything but ordinary. A sensitivity is generated throughout the film which sets it apart from most romantic comedies that often have no real depth to them. And yes Just Like Heaven has its amount of sugary moments that you’d probably expect, but the soul of the film permeates through with effervescence. The brisk pace makes the movie sprightly and full of moments of comedy; most of the humour stemming from situations in which David talks to Elizabeth, who often disagrees with him and other people think he’s either crazy or hallucinating about something. San Francisco shines in sun dappled glory, pervading the film with a loving sense of magic that comes from the two principal characters. It must be said that Just Like Heaven is in my view a very underrated film that not enough people talk about. If it’s a romantic comedy with a supernatural twist, this movie is the ticket and provides something a little different from the ordinary. A tender score accentuates the growing attraction of the two main characters and the subject of fate which seems to play a part.

Reese Witherspoon is engaging, funny and moving as the dedicated Elizabeth, whose predicament of whether she’s alive or dead takes centre stage. Witherspoon positively glows in an ethereal way in a part that displays her deft comedic timing and soulful emotions. Equally as good is Mark Ruffalo in the part of the grieving David, at first shocked at the appearance of Elizabeth and then slowly given parts of his life back as he develops romantic inclinations for her. Mark Ruffalo really shows a different side to his acting here, showing a gift for physical comedy underneath a veneer of wounded seriousness. In an exceptionally hilarious performance as the chilled out psychic Darryl, Jon Heder makes a marked impact on the film whenever he graces the screen in this engaging supporting turn. The guy is just hysterical because as helpful as the character is, he’s often so laid back he could fall over. Donal Logue as David’s concerned friend and Dina Spybey as Elizabeth’s sister help complete what is already a lovely film.

A funny but very touching romantic comedy/fantasy, Just Like Heaven is a heartwarming film, given a gentle core and an amusing top, along with lovely work from the two leads that bring a touch of magic to the underrated film.

The Mirror Has Two Faces

Tags

1990's, Barbra Streisand, Comedy, Drama, George Segal, Jeff Bridges, Lauren Bacall, Mimi Rogers, Pierce Brosnan, Romantic Comedy, The Mirror Has Two Faces

Film Title

The Mirror Has Two Faces

Director

Barbra Streisand

Starring

• Barbra Streisand as Rose Morgan
• Jeff Bridges as Gregory Larkin
• Lauren Bacall as Hannah Morgan
• Mimi Rogers as Claire Morgan
• George Segal as Henry Fine
• Pierce Brosnan as Alex

A romantic comedy-drama that has a feeling for old-fashioned films of the genre yet infused with something modern, The Mirror Has Two Faces has humour and heart to be taken from it. The middle part is slow and overindulged in a couple of missteps, but the overall package of the film, under the clear command of both director and star Barbra Streisand crafts an often touching and funny tale of relationships.

Rose Morgan is a dowdy, middle-aged professor of English Literature at Columbia University who often talks about grand romance and passion. The irony is that Rose has neither of them but really would like them, she just hasn’t had any luck in relationships. Living at home with her overbearing and vain mother Hannah is no help either as her mother is a woman who always feels the need to do her daughter down. And to top it off, Rose’s pretty sister Claire has just got married to the hunky Alex, who Rose has carried a torch for since the moment they met. Gregory Larkin also teaches at Columbia University though he is in the maths department and doesn’t quite have the ability to connect with his class that Rose does. He has come to the conclusion that he can’t function if in any sort of romantic or sexual relationship as he appears to lose his head. He puts and ad in the paper for a relationship that is intellectual rather than lustful. Through the intervention of Claire, Rose and Gregory meet and somehow hit it off. She impresses him with her self-deprecating wit and intellect, while she likes that he has taken an interest in her as no one in the past really has this much and no one quite as dashing either. After a few mix ups, the two pursue a platonic union that seems to work for both of them as it provides stimulating company and both of them can be themselves around the other. A few months into this, Gregory proposes much to the surprise of Rose, who knows that the marriage would be one without physical intimacy. Perhaps out of fear that she’ll be left on the shelf forever, Rose accepts his offer and the two marry. As time goes on, Rose begins to develop deep romantic affections for Gregory and this puts a strain on what is supposed to be a chaste meeting of minds rather than bodies. When she attempts to seduce him, Gregory rejects her as he doesn’t want sex to complicate what has become a pleasing companionship and goes on a teaching tour around Europe. Rose is then left to choose whether she should still pursue a potential reunion with Gregory or make some sort of change.

Taking the director’s seat, Barbra Streisand shows of yet more of her talent by giving perceptive and inviting direction to The Mirror Has Two Faces. She covers themes of self-worth and beauty in it, and while during the middle section where Rose has a makeover she jeopardizes some of what she’s been getting across, she brings it all back together for a lovely home stretch as Rose and Gregory have to acknowledge their feelings. Having starred herself in many romantic comedies in the past, the genre has obviously rubbed off on her and the result is a film constructed with attention and care for the genre it is in. Some will dismiss the film as a vanity project and simply just The Streisand Show, but dig deeper and there’s genuine emotion to be found there as well as a crackling script of funny characters. Streisand shows her confidence behind the camera as well as in front and makes the procedure both humorous and delightful. The Mirror Has Two Faces succeeds due to its throwback nature and moments that bring to mind 50’s romantic comedies. Scenes like the awkward meeting of the two are her attempt at a seduction have a feeling of yesteryear to them, but also benefit from modern values too. The film loses steam in the middle section and gets a bit bogged down in an abundance of gloss, at least it regains footing near the end and doesn’t do too much damage to a well-crafted flick. A lush sweeping score harks from Marvin Hamlisch harks back to the glory days of the romance picture with strings and woodwind as the perfect backdrop for this throwback picture.

As well as sitting in the director’s chair(and doing a fine job in that department), Barbra Streisand also contributes an amusing yet sympathetic performance as the lovelorn Rose, entering into a platonic marriage yet secretly desiring grand passion. Streisand breathes life into a woman who has a low self-esteem yet a good sense of humour that hides insecurity. Exuding kooky mannerisms and an articulate mind, Barbra Streisand marvellously makes Rose a character to root for and be charmed by along the way. Jeff Bridges provides superb humour as the somewhat bumbling and talkative Gregory, who believes that his theory of a union without the complication of sexual feelings or romance will work, but is challenged when Rose wants more than just companionship. Bridges has a real knack for laughs that is apparent here and by giving the part fastidious tendencies as well as awkwardness, he is a joy to watch. It must be said that the way that Streisand and Bridges bounce off each other is quite something and has that snap that old romantic comedies of the 40’s and 50’s had. Lauren Bacall flat-out steals The Mirror Has Two Faces however, with a sharp turn as Rose’s disagreeable and looks obsessed mother Hannah. With acerbic drawl, Bacall marvellously plays this matriarchal diva as something of a vain Medusa with all the best lines and withering put downs. Yet I have to give credit to Bacall for also injecting touches of vulnerability to the part that show that Hannah is not as bitchy or as harsh as her exterior would suggest. It’s a true supporting turn that is great to behold whenever Bacall takes the screen. Mimi Rogers is fine as the foxy glamour puss sister, while although only seen briefly, George Segal is a hoot as a friend of Gregory’s with a roving eye. The only person to not really make an impact is Pierce Brosnan as Rose’s brother-in-law, though the blame can’t be put at the door of Brosnan because the character is lazily written.

Its main message can get jumbled amid the gloss and the latter stages could have had some trimming to make them slightly tighter, yet The Mirror Has Two Faces brims with such beaming love, awkward romance and surprisingly moving moments that it’s flaws can be passed over because of how well it all turns out. And the well assembled cast and illustrious director/star of Barbra Streisand are even more reason to seek this film out.

It Started in Naples

Tags

1960's, Clark Gable, It Started in Naples, Marietto, Melville Shavelson, Romantic Comedy, Sophia Loren, Vittorio De Sica

Film Title

It Started in Naples

Director

Melville Shavelson

Starring

• Clark Gable as Michael Hamilton
• Sophia Loren as Lucia Curcio
• Vittorio De Sica as Mario Vitale
• Marietto as Nando

A somewhat mixed romantic comedy, It Started in Naples is thankfully enlivened by the star pairing of Clark Gable and Sophia Loren as well as an amiable enough story and the lovely scenery of Italy.

Michael Hamilton is a respected Philadelphia lawyer who travels to Naples after being informed of his estranged brother’s death in a boating accident. Michael is an upright man who has no time for any other culture and wants business to be taken care of quickly. Naturally this doesn’t happen for him on his arrival. What he also discovers thanks to Mario Vitale, an Italian lawyer who knew his brother, informs Michael that his brother had an illegitimate child named Nando who is currently being raised by his Aunt Lucia Curcio. Journeying to the beautiful nearby island of Capri, he finds that Lucia is an uninhibited and beautiful woman of modest means who gets by from dancing at a local nightclub. Young Nando is a charming ragamuffin who smokes, skips school and stays up late, much to the shock of Michael who doesn’t think this environment that Lucia provides is beneficial for the child. Michael finds himself growing fond of Nando and thinking that the young boy should be in a place of some opportunity instead of what he considers squalor, decides to fight for custody for the young boy, with the intention of bringing the boy back to America. But Lucia has other ideas and uses her considerable assets in an attempt to remain with custody of Nando. So while both Michael and Lucia play tug of war to gain custody of the impish Nando, they both find romantic feelings growing between them, due in no small part thanks to lawyer Vitale who meddles in their unspoken emotions and brings them out amusingly.

Melville Shavelson competently directs this light film with knowledge for both romance and comedy. He may take a little too long with exposition, but once the romance and comedy aspects are present his direction is free and easy, helped by a dose of irony. It Started in Naples mainly suffers somewhat from a by the numbers story and the fact that it runs too long. From the beginning, we can see where the plot is going and it makes the film both predictable yet somehow enjoyable. The film is essentially a one-joke movie of Michael experiencing a culture clash that leads to romance with Lucia, but at least the other spots of humour have a warm and pleasing quality. Overall with It Started in Naples, the positives outweigh the negatives as the energy of the film is sustained by the direction and glamorous romantic pairing of Loren and Gable. And deserving a special mention are the luscious visuals that fill the settings of Naples and Capri with shiny exuberance and colours of romance. It paints a breathtaking picture of these places that seriously have you wanting to book a flight there as soon as possible. A lively music score is utilized to great effect here, including a couple of songs. The highlight of these is a cheeky and sexy number performed by Lucia in a nightclub that represents one of the best and most energetic parts of the movie.

In one of his last roles before his death, Clark Gable still shows his considerable authority and charm that made him an iconic star. He brings out Michael’s cynical and intolerant attitudes that are eventually worm down by the surroundings. Despite the character being an uptight individual, Gable showcases that roguish charm that we all know and love. He wasn’t known as ‘The King’ for nothing. Providing a comical and sexy foil is Sophia Loren in a delightful performance as the earthy and voluptuous Lucia. Fun-loving, sensual and scheming on occasion, Loren displays her skills with comedy here and is stunning to watch, as well as boasting one of the most infectious laughs you’re ever likely to here. And despite the obvious age gap between the stars, they do have a wonderful chemistry with each other that can be felt. Vittorio De Sica emerges as a real scene-stealer here as the skirt-chasing lawyer who isn’t exactly the best person to be representing Michael but whose in turn leads to romantic feelings blossoming for them outside of court. The youthful presence of Marietto is charming when he’s playing Nando, who thinks he’s a lot older than he is but his childlike actions betray this sense of maturity he believes he has making him an engaging child.

It could have been a better film than how it turned out, but It Started in Naples has enough humour and chemistry( plus the beautiful backdrop of Italy) to make it a pleasantly light film to watch. It has its share of flaws, but a serene charm shines through the mixed proceedings that will surely leave with you with a smile on your face.