Author: Stan

Today’s quick review: Bringing Up Baby. Dr. David Huxley (Cary Grant) has a big day ahead of him. Not only is he getting married to his fiance Alice (Virginia Walker), but he also has to deliver an important fossil to the museum where he works. But a chance encounter with Susan Vance (Katharine Hepburn) throws his plans into disarray when the scatterbrained heiress ropes him into taking care of Baby, a leopard she just received from her brother.

Bringing Up Baby is a classic romantic comedy about a mismatched couple and a troublesome leopard. Cary Grant stars as David, a mild-mannered scientist who wants nothing more than to take care of his fossils and get married as planned. Katharine Hepburn co-stars as Susan, a carefree young woman who sows chaos wherever she goes. Their meeting kicks of a sprawling chain of events that drags David farther and farther from where he’s supposed to be.

Bringing Up Baby can be a stressful watch. The story has a lot of moving pieces, the dialogue is an avalance of arguments and misunderstandings, and the chaos only escalates as the movie goes on. Any one of these would make the movie hard to follow; taken together, they are almost overwhelming. But the reward for keeping up is some truly brilliant madcap humor. Bringing Up Baby is an intricate comedic puzzle whose pieces fit together perfectly.

What makes the comedy work so well is that it finds just the right combination of outrageous situations and over-the-top characters to keep the jokes coming. At any point in the film, a calm conversation would clear things right up. What sets Bringing Up Baby apart is how deftly it ensures that a calm conversation can never happen. The jokes, the coincidences, and the lies all line up like dominoes to ruin David Huxley’s big day.

Bringing Up Baby is an excellent pick for fans of classic comedy or anyone in the mood for something cheerful and witty. Bringing Up Baby is a lot to take in, but those willing to dive into the chaos will find it to be a hilarious watch. Those hoping for something more on the romantic side may want to temper their expectations, however. Although ostensibly a romantic comedy, the romance plays second fiddle to the comedy.

For a sharp romantic comedy starring Katharine Hepburn and Cary Grant, try The Philadelphia Story. For a similarly madcap romantic comedy from the same era, try Christmas in Connecticut or His Girl Friday. For a classic comedy with sharp dialogue and slightly less chaos, try My Man Godfrey or The Thin Man. For a later madcap comedy with an ensemble cast, try It’s a Mad, Mad, Mad, Mad World.

7.9 out of 10 on IMDB. I give it a 7.5 to 8.0 for a sharp script and a slate of strong performances.

Today’s quick review: The Ugly Truth. Abby Richter (Katherine Heigl), the producer of a struggling news show, is outraged when the network brings on Mike Chadway (Gerard Butler), the boorish host of a dating advice show, to boost ratings. After a rocky start to their professional relationship, Abby reluctantly turns to Mike to help her win over the man of her dreams (Eric Winter). But in doing so, she finds herself turning into someone she’s not.

The Ugly Truth is a romantic comedy about two members of a Sacramento news program who have very different views about romance. Abby is a perfectionist who believes in love and romance, while Mike is a cynic who thinks all relationships are physical. Their battle of ideologies gives way to an unlikely friendship as Abby learns that some of Mike’s advice actually works, even as Mike starts to question the very advice he’s giving.

The Ugly Truth doesn’t aim very high with its comedy, but it does hit the targets it aims at. The rivalry between Abby and Mike leads to some fun situations as the two try to prove each other wrong. Katherine Heigl and Gerard Butler play off each other well, with good comedic timing. The jokes can be a little cheap at times, but they are reliable. All this is enough to make The Ugly Truth a light and enjoyable watch.

However, The Ugly Truth doesn’t go as far with its premise as it could have. The romance gets the short end of the stick, with a good setup between Abby and Mike that never gets developed into a complete relationship. The movie goes through the motions of character arcs without actually putting in the work to complete them. And although the script has a lot of good supporting detail, there are no real subplots to help prop up the main plot.

The end result is a decent romantic comedy that packs few surprises. A promising setup, consistent humor, and two well-chosen leads are enough to make The Ugly Truth worth a watch for those looking for some quick entertainment. But there isn’t enough substance to the movie to satisfy fans of romance, while comedy fans can also do better. You should also skip it if you’re sensitive to explicit humor.

For another romantic comedy about a womanizer forced to reevaluate his philosophy, try What Women Want, Hitch, or Ghosts of Girlfriends Past. For a modern romantic comedy about dating and deception, try Man Up.

6.4 out of 10 on IMDB. I give it a 6.5 for solid comedy but not much more.

Today’s quick review: Winter’s Tale. Peter Lake (Colin Farrell) has a brush with destiny when he meets Beverly Penn (Jessica Brown Findlay), a vivacious young woman who’s dying of consumption. Falling deeply in love with one another, Peter and Beverly try to make the most of the time they have left. But their love faces a dire threat from Pearly Soames (Russell Crowe), a devlish mob boss and Peter’s former mentor, who tries to cut their story short.

Winter’s Tale is a fantasy romance about a young man’s attempt to work a miracle and save the woman he loves. Winter’s Tale is set in New York in 1916, where an orphan who grew up on the streets of Brooklyn finds himself in the middle of a much larger conflict. The movie posits a magic beyond the day-to-day world and offers a glimpse of the way it touches the lives of humans. A beautiful, creative story makes Winter’s Tale a worthy pick.

Winter’s Tale is a fantasy through and through. The story deals explicitly with miracles, destiny, and the struggle between good and evil. But unlike other fantasy stories, the magic in the world ties directly into the hopes and dreams of humanity. The fantasy elements aren’t there for their own sake; they are a reflection of the challenges that Peter and Beverly face and the help—sometimes subtle, sometimes overt—needed to overcome them.

The result is a goregous movie with a fairy tale-esque plot, a fascinating setting, and a keen sense of enchantment. The romance skews a little idyllic, a choice that some viewers won’t like, but it does give the film an effective emotional core. The story also takes an odd turn or two, but those willing to suspend their disbelief will enjoy it nonetheless. However, those who can’t lose themselves in the fantasy won’t get much out of the movie.

Winter’s Tale is an uplifting movie that will appeal to viewers who are romantics at heart. Its well-crafted world takes a step beyond the ordinary, showing just a bit of the magic going on behind the scenes, while its romance is simple and pure. Those who enjoy fantastic expressions of the human condition will find that Winter’s Tale sings to them. Those who prefer more grounded, realistic love stories should steer clear.

For a more overt fantasy adventure wrapped around a romantic core, try Stardust. For a fantasy romance with a more bizarre premise, try The Curious Case of Benjamin Button. For a darker portrait of historical New York, try Gangs of New York.

6.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for fine craftsmanship and a beautiful tone.

Today’s quick review: Ghost. When Sam Wheat (Patrick Swayze) is killed in a mugging, he’s surprised to find himself lingering around as a ghost. Able to see the physical world but not to interact with it, Sam keeps watch over Molly Jensen (Demi Moore), the girlfriend he left behind. But when Sam learns that the man who killed him is coming after Molly, he must turn to Oda Mae Brown (Whoopi Goldberg), a phony medium, to warn her.

Ghost is a fantasy romance about a murdered man who lingers on as a ghost, unable to return to the woman he loves. Sam Wheat must master the rules of his new state of being and convince Oda Mae, the only person who can hear him, to help him with his unfinished business. Ghost serves up romance, drama, and mystery in equal parts, all topped off with a smattering of comedy. The result is an eclectic movie that manages to make good on its premise.

Ghost is a jumble of different ideas that somehow play nicely together. The core of the movie is Sam’s relationship with Molly and his attempts to take care of her from beyond the grave. But along the way, the movie also touches on grief, the nature of the afterlife, and the details of Sam’s death, with a few forays into comedy as Sam tries to work with Oda Mae. Ghost is a movie that isn’t afraid to dabble in whatever areas it needs to tell its story.

The gamble pays off for the simple reason that Ghost picks a compelling premise to work with, one that’s capable of supporting all the different things it tries to do. Sam’s regrets and Molly’s grief give the movie some powerful emotional material to work with. The rules of the afterlife are explored clearly and have a direct effect on the plot. Even the rare parts of the movie that flirt with horror feel like a natural consquence of the premise.

Still, what Ghost has to offer won’t appeal to everyone. The romance doens’t get as much attention as in other movies, and the movie cares more about the fact that Sam and Molly are in love than the details of them as a couple. The fantasy premise can feel like a cheat for those used to more grounded dramas. The movie’s willingness to switch between poignant love story, buddy comedy, and vengeful haunting will also throw some viewers for a loop.

Ghost is a surprisingly well-crafted movie that makes the most of a creative premise. The particulars of its story and tone mean that it won’t resonate with audiences as deeply as some other romances, but there’s plenty of tenderness for fans of the genre and enough variety to keep the interest of a wide range of viewers. Give it a shot when you’re in the mood for something emotional that also has a substantial story.

For a more comedic romance about a dead loved one, try P.S. I Love You. For a more suspenseful brush with the afterlife, try The Sixth Sense. For a more sentimental drama about looking at one’s life from the outside, try It’s a Wonderful Life.

7.0 out of 10 on IMDB. I give it the same for a creative premise that’s handled well.

Today’s quick review: The Notebook. In the summer of 1940, Noah Calhoun (Ryan Gosling), a working-class boy, falls in love with Allie Hamilton (Rachel McAdams), the daughter of a wealthy Southern couple. Through dogged persistence, he manages to get her on a date, and their relationship blooms into a full-blown summer romance. But the end of the summer, coupled with the disapproval of Allie’s parents, threatens to tear them apart.

The Notebook is a romantic drama about the lengths a young couple must go to in order to be together. Ryan Gosling and Rachel McAdams stars as Noah and Allie, whose passion for one another must overcome a world of obstacles keeping them apart. The movie captures the careless energy of young love as well as the pang of loss. A well-matched couple, a touching story, and solid craftsmanship all the way around make The Notebook a rich and satisfying watch.

The Notebook invests deeply in its story. Noah and Allie’s story takes place over the course of several years, and it’s drawn out further by the film’s framing device: an aging man (James Garner) narrating the story to a woman with dementia (Gena Rowlands) in a retirement home. The drama along the way is solidly constructed, made from a combination of the characters’ conflicting desires and the circumstances handed to Noah and Allie by fate.

The Notebook also benefits from a great lead couple. Noah Calhoun is a determined young man, bold enough to earn Allie’s affection and faithful enough to keep it. Allie Hamilton is every bit his match, a smart and vivacious young woman willing to fight for her love. Ryan Gosling and Rachel McAdams capture the exuberance of the relationship well. The two lovers are backed by an unusually supportive cast of supporting characters.

The Notebook is a strong choice for fans of the romance genre. The movie fits squarely into the subgenre of romance that deals with historical settings, forbidden love, and the way a relationship plays out over a lifetime. The Notebook doesn’t serve up any real surprises, but the quality of its acting and storytelling makes it a satisfying watch at minimum, with plenty of potential upside for the right viewer.

For a retrospective romance with a historical setting and a fantasy twist, try The Curious Case of Benjamin Button. For a more embellished story with a similar framing device and strong craftsmanship, try Big Fish. For an animated romantic drama that hits similar emotional notes, try Millennium Actress.

7.8 out of 10 on IMDB. I give it a 7.0 to 7.5 for an earnest, well-crafted story with the potential to mean much more to the right viewer.

Today’s quick review: P.S. I Love You. Holly (Hilary Swank) and Gerry (Gerard Butler) are a young, loving couple with their whole lives ahead of them. But their future together is cut tragically short when Gerry dies from a brain tumor. Holly wallows in grief until Gerry sends her one last gift from beyond the grave: a series of letters that help her enjoy her life, remember their time together, and ultimately move on.

P.S. I Love You is a romantic comedy about a woman trying to recover from the death of her husband. Hilary Swank stars as Holly Kennedy, who’s left to pick up the pieces of her life with the help of her mother Patricia (Kathy Bates), her friend Daniel (Harry Connick, Jr.), and the letters left by Gerry. P.S. I Love You is an optimistic movie that looks at the grieving process, the moments that make a relationship, and the lingering impact of love.

P.S. I Love You strikes a nice tonal balance. The humor is spontaneous and imperfect, playing naturally off the characters and their quirks. The drama is moving without ever getting too bleak. Holly and Gerry are an odd couple but a believable one, and the pain Holly feels at the loss of her husband is one of the clearest wins for the movie. The movie also does a few clever things with its premise, taking Holly and the viewer on a miniature adventure.

The catch is that all of this results in a movie that’s highly subject to taste. The premise can be overly sentimental or even a little morbid for the wrong viewer. The humor is funny enough in the moment, but it doesn’t have the timeless quality of true classics. The lead couple won’t click for some people, particularly Gerry’s devil-may-care attitude and Holly’s awkward, halting as she tries to move on.

P.S. I Love You is a solid pick for fans of romance. The combination of a touching premise and irreverent humor lets it hit a wide range of emotional notes, while its capable script and likable lead couple help it live up to the promises it makes. The movie has enough idiosyncrasies that it will simply fall flat for some viewers, but it gets enough right that anyone interested should give it a shot.

For a more varied perspective on love, try Love Actually. For another romance about a dead loved one, try Ghost.

7.0 out of 10 on IMDB. I give it the same for well-rounded romance.

Today’s quick review: Dear John. While on leave at home in Charleston, John Tyree (Channing Tatum), a soft-spoken soldier, meets Savannah Curtis (Amanda Seyfried), a kind-hearted college student. Over the course of two weeks together, John and Savannah fall deeply in love, promising to wait for each other during the remaining year of John’s enlistment. But as the distance begins to wear on them, their relationship threatens to fall apart.

Dear John is a romantic drama about a couple kept apart by the man’s military service. Channing Tatum stars as John Tyree, whose love for Savannah is put to the test by long months away from her on active duty. Amanda Seyfried co-stars as Savannah, a sweet young woman who sees the best in John. Dear John is a heartfelt movie about a love and separation. Detailed characters and a steady presentation style make it a solid entry into the romance genre.

Dear John is a romance through and through. The story deals almost exclusively with the relationships between its characters, beginning with John and Savannah but extending to John and his father (Richard Jenkins) as well. The characters are idealized in some ways, but the movie spends enough time with them to make them feel real. Channing Tatum and Amanda Seyfried complement each other in a natural way that doesn’t rely on banter or gimmicks.

Dear John does better with individual scenes than with its story as a whole. Heartfelt performances, a soft soundtrack, and subtle choices in how to convey John and Savannah’s relationship all lead to an effective romance on a scene-to-scene basis. But the story will strike some viewers as odd. The movie relies on soft drama to keep John and Savannah apart, and the pacing of their relationship will seem odd to anyone not used to the genre.

Dear John is a solid pick for those in the mood for something tender and romantic. The movie is not as inspired as the greats of the genre, and the way its plot is structured keeps it from having the same emotional impact as some of its peers. But the skill behind its acting and presentation is enough to make it a worthwhile watch for fans of the genre. Those who dislike sentiment for its own sake will want to steer clear.

6.3 out of 10 on IMDB. I give it a 6.5 for a capable romance that’s missing the story choices needed to take it farther.

Today’s quick review: What Women Want. Nick Marshall (Mel Gibson), a smooth-talking ad executive, has always had a way with women. But as charming as he can be, he doesn’t understand the way women think, at least until a freak accident leaves him with the ability to hear women’s thoughts. Nick uses his power to undermine his new boss, Darcy Maguire (Helen Hunt), but in the process finds himself developing a new perspective on life.

What Women Want is a romantic comedy about a man forced to get in touch with his feminine side. Years of caddish behavior have left Nick Marshall with a comfortable job in advertising and fraying relationships with every woman in his life, including his daughter Alexandra (Ashley Johnson). The movie follows the drastic shifts in Nick’s personal life, career, and behavior when he finally gets firsthand knowledge of what they’re thinking.

What Women Want makes good on its premise. Nick’s mind-reading ability is integral to the plot and his transformation as a person. It ties in well with his job in advertising, and it adds layers to what would otherwise be an antagonistic relationship with Darcy, his boss and rival. The movie lets Nick use and abuse his power in a wide range of scenarios, and in doing so it covers a large cross-section of interpersonal relationships.

Going beyond its premise, What Women Want is a simple, solidly constructed comedy. The story doesn’t pack any real surprises, but it has enough variety for it to feel worthwhile, even at its most predictable. Mel Gibson is a good fit for the role of Nick, capturing the highs and lows of his character quite nicely. The jokes flow naturally from the characters and the premise, and they mainly deal with Nick talking his way into and out of problems.

Still, What Women Want won’t be for everyone. The movie relies heavily on Mel Gibson’s performance, and viewerse who aren’t at least a little bit amused by his charm won’t get much from the experience. The movie tries to keep an even hand when commenting on the relationsip between men and women, but the topic won’t appeal to some viewers. What Women Want is also missing the emotional resonance of a more dedicated romance.

What Women Want is a fun pick for viewers in the mood for a light, original comedy that actually explores its premise in some depth. Its lead character and general story will be hit-or-miss, but anyone who likes Mel Gibson or romantic comedies in general should give it a shot. For another romantic comedy about a shallow womanizer given a supernatural chance to mend his ways, try Ghosts of Girlfriends Past or The Family Man.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for an original premise and a solid script.

Today’s quick review: Elvis Has Left the Building. Harmony Jones (Kim Basinger), a traveling cosmetics saleswoman, has a unique problem: everywhere she goes, Elvis impersonators wind up dead. Fleeing the scene of each freak accident, Harmony unwittingly becomes a fugitive from two FBI agents (Mike Starr and Phill Lewis) investigating the deaths. But her luck changes when she meets Miles Taylor (John Corbett), a handsome advertising executive.

Elvis Has Left the Building is an Elvis-themed comedy with a dash of romance. The movie follows Harmony as she searches for meaning in her life while a series of improbable accidents causes the death of every Elvis she meets. Elvis Has Left the Building is a light comedy that pays tribute to Elvis and his legacy. The movie’s cute humor, creative premise, and Elvis-heavy soundtrack are not enough to make up for its bare-bones story and romance.

Elvis Has Left the Building never gets very far beyond its premise. The story is a road trip from Texas to Las Vegas, with a few unfortunate run-ins with Elvis impersonators along the way. The individual scenes are fun enough, with Harmony growing more distraught and the FBI agents more perplexed as the death toll mounts. But the jokes don’t leave a lasting impression, and Harmony and Miles have disappointingly few scenes together.

Elvis Has Left the Building is a decent pick for those in the mood for something light and effortless. Its premise is enough to give it a niche within the comedy genre, albeit a narrow one. But the movie finds itself outclassed by comedies that have more elaborate plots and more memorable scripts, as well as by romances that spend more time on their relationships. Most viewers will have better luck elsewhere.

For a cross-country road trip with a wilder sense of humor, try Rat Race.

5.2 out of 10 on IMDB. I give it a 6.0 for a charming premise without much substance to back it up.

Today’s quick review: Nights in Rodanthe. With her husband taking the children for the weekend, Adrienne Willis (Diane Lane) escapes to Rodanthe, where she agrees to take care of her friend Jean’s (Viola Davis) beachside bed and breakfast while she’s away. The inn’s sole guest is Paul Flanner (Richard Gere), a divorced doctor on the island for personal business. As Adrienne and Paul get to know each other, they begin to fall deeply in love.

Nights in Rodanthe is a romantic drama about two desperate people who find new meaning in life when they find each other. Diane Lane stars as Adrienne, a hard-working mother whose marriage has been rocked by her husband’s infidelity. Richard Gere plays opposite her as Paul, a doctor who has sacrificed everything for his career only to be left with nothing. One quiet weekend together starts a relationship that changes both of their lives forever.

Nights in Rodanthe is missing the spark it needs to be an effective romance. The only sources of tension early on are Adrienne’s mixed feelings about her husband and the vague mystery of why Paul came to Rodanthe in the first place. Those won’t be enough to hook most viewers, leading to a slow start as the romance gradually builds up steam. However, the chemistry between Diane Lane and Richard Gere is lacking and doesn’t feel worth the wait.

Nights in Rodanthe also has issues with its storytelling. The pacing of the movie is patchy. There are long dry spells filled with nothing but setup and low-stakes conversations, then there are bursts of drama and sentiment as the movie tries to make up for lost time. Nights in Rodanthe does have enough skill to get its points across, but the unimportant details dominate the story while its key dramatic moments don’t have space to breathe.

None of this will stop Nights in Rodanthe from appealing to the right viewer. Its mature characters, mundane style of romance, and clean emotional beats will speak to viewers who are fans of romance for its own sake. But broader audiences will find that the story doesn’t resonate the way it should due to poor pacing and a lack of chemistry. Dedicated fans of the genre may want to give it a try, but other viewers should set their sights a little higher.

6.0 out of 10 on IMDB. I give it the same for a decent story with flawed delivery.