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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.
A dark, bitter bonbon of an anti-romcom: so marvelously unromantic, so beautifully catty and witty. Keanu Reeves and Winona Ryder were born to play these roles.
Two rom-coms, a grossout comedy, a family drama, and a platonic May-December melodrama, all connected by stilted humor, sloppy schmaltz, implausible human interaction, and — least convincingly — dogs.
A sweetly old-fashioned romance about a young man who falls in love over email… with another young man. Tender, funny, sometimes heartbreaking, enormously human and honest.
What starts out as a genial drawing-room satire on class and snobbery soon turns to a sly romantic comedy about the fantasy of romance and the crushing expectations placed on women.
It’s too predictable and too disingenuous about the realities of what it means to be an “older” woman. But Sharon Stone is totally charming.
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