Ejiofor and Hathaway are game, but they’re grasping for something solid, and don’t find it. A deeply unsatisfying novelty artifact of the pandemic that fails to create a necessary sense of transgression.
Finds something fresh and gently feminist in the tropes and claptrap of an overbaked genre. Stewart and Davis have terrific chemistry, and the supporting cast of modern legends of funny is to die for.
Charming culture-clash rom-com is full of life, celebrating human universals of family and love, and embracing differences that make the world so interesting. Smart and spritely, feminist and funny.
A sly, penetrating zing and a frisson of Insta-influencer horror — of the oppression of performative perfection against a marzipan backdrop — renders Austen’s fluff and nonsense deadly serious.
Love and life are pain, the glitz and sparkle of Christmas are but a momentary reprieve from it, and everything is pretty much unrelentingly awful. But Emilia Clarke and Henry Golding are adorable!
It’s not interested in a world absent the incalculably enormous impact of the Beatles. It’s just a lazy comedy of one running joke, a regular schmoe enjoying unwarranted success, and a blah romance.
Doesn’t rock the rom-com boat but absolutely delightful anyway. A smart, modern romantic comedy that flips genre scripts and finds a freshness in making room for new voices and new perspectives.
The romance lacks chemistry, and the villain lacks bite. It seems embarrassed to be a musical, failing to embrace the necessary ineffable daydreaminess. Somehow even more cartoonish as live-action.
House of Cards as a satirical workplace comedy, with just a touch of rom-com thrown in to render it genuinely sweetly sexy. Theron and Rogen share palpable chemistry, both comic and romantic.
An opulent, juicy, splendidly silly, tears-of-joy spectacle reminiscent of the escapist fluff of 1930s Hollywood… yet also a romantic fantasy that a progressive, feminist gal can actually feel good about.