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So wonderful and so rare a film, gentle and warmly humanistic, about two people falling in love depicted plainly, honestly, and — in a way that often eludes Hollywood — with amiable realism.
A new-fashioned screwball comedy combining improbable elements, from ancient Egyptian artifacts to downtown New York chic, with classic conceits like mistaken identity and romantic conundrums.
White Christmas is billed as a remake of Holiday Inn, but the only thing these two films have in common is Bing Crosby singing the most beautiful secular Christmas carol, Irving Berlin’s ‘White Christmas’ (which was originally written for Holiday Inn). White Christmas isn’t as delightful as its supposed predecessor, but if for no other reason, it’s worth seeing for a gorgeously simple arrangement of the title tune, which Crosby croons accompanied only by a windup music box.
God, I love those snarky 40s comedies in which there’s just a bit of meanness under the humor. Holiday Inn is, of course, filled with the kind of pretty Christmas songs and picture-postcard scenes of snow and horse-drawn sleighs that make for beloved holiday movies. But there’s also some darkness lurking here.
I’d never even heard of this film before I started putting together A Very Flick Filosopher Christmas, and I can’t imagine why that should be. Light and funny, this should be a holiday staple.
How would my life be different if only I’d taken the road not taken? This fun little movie favors an inevitability, a brand of destiny about who we meet and what we do…
What You’ve Got Mail fails to reveal, in its startling romanticization of e-mail and cyberculture, is that the enchanting person whom you’ve been IMing and e-mailing for the last three months is more likely than not a 45-year-old virgin sitting at a PC in his parents’ basement and typing with one hand. No, the chances are not good that the person to whom you’re revealing your innermost secrets is either Tom Hanks or Meg Ryan.
Like a New England version of Northern Exposure, The Love Letter is full of intriguingly offbeat characters — from the nosy postmistress to the suspicious cop to Helen’s dotty grandmother (Titanic’s Gloria Stuart) to Miss Scattergoods (Geraldine McEwan), who works at the local historical society — with their own romantic secrets. Unsentimental and wonderfully modest, The Love Letter is that rare pleasure: a prickly yet succulent romantic comedy.
‘Love and a bit with a dog,’ that’s all audiences want, according to Philip Henslowe (Geoffrey Rush), owner of London’s Rose Theater. A bit of romance, a bit of comedy — isn’t that really all that movie audiences, too, are after? Shakespeare in Love has both in spades, and it’s the first film of its kind to win Best Picture since 1977’s Annie Hall.
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