Sleight of Film

Today’s quick review: You May Not Kiss the Bride. After a pet photography mishap, Bryan Lighthouse (Dave Annable) winds up in debt to Vlatko Nikitin (Ken Davitian), a Croatian mobster. To pay off his debt, Bryan agrees to marry Nikitin’s daughter Masha (Katharine McPhee) so she can get a green card and stay in the US. But the scheme goes sideways when, while on their fake honeymoon to the South Pacific, Masha is kidnapped and held for ransom.

You May Not Kiss the Bride is a romantic crime comedy about an ordinary man forced into a sham marriage by a menacing gangster. Amidst death threats, kidnappings, and other vacation troubles, Bryan finds himself genuinely falling for Masha. You May Not Kiss the Bride features a light blend of humor, adventure, and romance. However, the movie’s uneven comedy, weak characters, and somewhat contrived premise hamper its efforts.

You May Not Kiss the Bride has some promising elements, but it does not use them to their fullest. The dynamic between Bryan and Nikitin is enough to push Bryan out of his comfort zone, but neither character is well-rounded enough to capitalize on the dynamic. The jokes are light and accessible, but unreliable, and many of them miss the mark. Finally, the romance between Bryan and Masha is missing a few steps to be truly satisfying.

You May Not Kiss the Bride is a decent popcorn watch when you are in the mood for a comedic adventure, but it falls well short of its premise’s potential. Flexible viewers will find it charming and amusing in places, but it doesn’t have much to offer over other movies in a similar vein. Skip it if you are looking for something romantic or more than superficially funny.

For a tropical adventure that rekindles a relationship, try Fool’s Gold. For a richer comedy about an ordinary man and his eccentric in-laws, try The In-Laws. For a more successful blend of light crime comedy and romance, try The Whole Nine Yards.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt1381418/). I give it a 6.0 for decent humor and a modest adventure.

Today’s quick review: The Love Punch. Richard Jones (Pierce Brosnan) and his ex-wife Kate (Emma Thompson) are nearing retirement and getting used to life without each other. But the two are reunited when French billionaire Vincent Kruger (Laurent Lafitte) takes over Richard’s company and steals its pension fund. To get back what’s theirs, Richard and Kate travel to Paris to steal a $10 million from Vincent at his wedding.

The Love Punch is a romantic crime comedy about two near-retirees trying to steal a valuable gem from a ruthless billionaire. Pierce Brosnan and Emma Thompson co-star as Richard and Kate Jones, who rekindle their relationship while planning the heist. The Love Punch’s main appeal is that it is fun. The heist is low-stakes, the would-be thieves are amateurs, and the chemistry betwen Brosnan and Thompson gives the movie its sparkle.

However, The Love Punch is missing the polish seen in similar movies. The mechanics of the heist are not that impressive, but they are enough to put Richard and Kate in some risky situations. The dialogue is light and amusing, but it never crosses the threshold into being profound or meaningful. Aspects of the story are also underdeveloped. Vincent is never given his due as an antagonist, and the heist itself is somewhat contrived.

The Love Punch is an enjoyable movie that does what it sets out to do, but little more. It dabbles in crime comedy and romance, makes good use of an older cast, and maintains a light tone throughout. But unfortunately, The Love Punch never hits as hard as it should. Viewers who are hoping for a smart heist, a passionate romance, or a sharp comedy will find that the movie falls somewhat short.

For Pierce Brosnan as a retired diamond thief in an exotic locale, try After the Sunset. For a more elaborate heist by retirees, try Going in Style or The Maiden Heist. For a somewhat more serious crime movie with glimmers of the same spirit, try King of Thieves.

[5.8 out of 10 on IMDB](https://www.imdb.com/title/tt2234261/). I give it a 6.0 to 6.5 for good pieces that don’t quite come together.

Today’s quick review: Love, Lost & Found. Joey Bufalino (Jake Stormoen), a camera-happy social media star, takes his girlfriend Claire McAllister (Danielle C. Ryan), a hard-working tech entrepreneur, on a romantic hiking trip to propose. When Claire falls in a river, Joey and Natalie (Melanie Stone), a socially awkward park ranger, set out to rescue her. Instead, Claire is found by Colt (Trevor Donovan), a local rancher and her ex-boyfriend.

Love, Lost & Found is a romantic comedy about a couple who get separated on a hiking trip. Joey and Claire are self-obsessed people, more concerned with their respective careers than with each other. While separated in the wilderness, they are forced to take a step back and reexamine their relationship and their priorities in life. Love, Lost & Found features a cute setup and a serviceable story, but its execution falls somewhat short.

The main weakness of Love, Lost & Found is its characters. Joey and Claire are deliberately hard to like, flawed characters who grow as the movie goes on, but even their best moments are not that engaging. Natalie and Colt fare better, alternate love interests who are meant to pull Joey and Claire out of their ruts. But none of the prospective couples have strong chemistry, so the romance feels shallow and forced.

As for its story, Love, Lost & Found sticks to the basics. Joey and Claire find something new in Natalie and Colt, while the wilderness helps them detach from their technology-obsessed lifestyles. To the movie’s credit, it never takes itself too seriously. The drama is light and harmless, and the plot serves as an excuse for character development, with no real twists or surprises.

Love, Lost & Found makes for a decent romantic comedy in a pinch, but it finds itself outclassed by movies with better characters, better chemistry, and more engaging stories. Love, Lost & Found has only its gorgeous environments to separate it from the other movies in the genre. Otherwise, it has a shaky core and never gets much traction. Steer clear unless you’re looking for something pleasant but rote.

For a more charming trek through the wilderness, try Hunt for the Wilderpeople. For a darker story set in the woods, try Blood Money or The Contract. For a sci-fi thriller that delves deeper into the dark side of social media, try The Circle. For a more cynical romantic comedy about a relationship on the rocks, try 500 Days of Summer.

[5.4 out of 10 on IMDB](https://www.imdb.com/title/tt13303456/). I give it a 5.5 for a reasonable setup let down by lackluster characters.

Today’s quick review: The Reality of Love. Ten years after moving to Los Angeles, Ryan Banks (Jason Priestley) has become an A-list actor, and his best friend Todd Doherty (Bradley Cooper) is his manager. When Ryan’s romantic dalliances threaten to tank his career, Todd pitches a reality show where fifteen women compete for Ryan’s hand in marriage. But complications arise when Todd falls for Charlie Morton (Emma Caulfield), the front-runner.

The Reality of Love is a romantic comedy about a love triangle on the set of a reality television show. Bradley Cooper stars as Todd Doherty, an honest and hard-working manager who’s responsible for his best friend’s meteoric success. Emma Caulfield co-stars as Charlie Morton, a down-to-earth Bostonian who hits it off with Todd while competing to marry Ryan. A formulaic but competent story makes The Reality of Love an enjoyable watch.

The Reality of Love is a classic love triangle, with all the light flirting and low-stakes drama one would expect. Nearly every aspect of the movie is innocuous and forgettable, with no major missteps but no major changes to the formula. The saving grace of the movie is the chemistry between Cooper and Caulfield. The charisma of the actors and their easy conversations together give The Reality of Love the emotional core it needs to succeed.

The other notable feature of The Reality of Love is its reality show premise. The movie never gets too incisive with its commentary, but it does take some shots at the artificial nature of the medium, showing all the effort that goes into staging situations that are supposed to be real. The show also works well as a plot device, although the movie never gets serious about either engaging with Charlie’s competition or exploiting the show for jokes.

The Reality of Love is a fine pick for viewers who are in the mood for something pleasant and harmless. Two well-matched leads and a unique setting give the movie just what it needs to succeed. However, its generic story and lack of ambition mean that it won’t leave a lasting impression. Try it if you enjoy the genre, but steer clear if you’re looking to be impressed.

For a dedicated comedy about a pair of friends who find stardom, try Wayne’s World. For a science fiction comedy that explores the artificiality of celebrity, try S1m0ne. For a sprawling romantic comedy that has a similar tone but more memorable writing, try Love Actually.

[6.2 out of 10 on IMDB](https://www.imdb.com/title/tt0385013/). I give it a 6.5 for a sweet story with mixed execution.

Today’s quick review: Love and Death. Boris Grushenko (Woody Allen), the son of a Russian farmer, faces danger and death when he is recruited into the army to fight Napoleon’s invading forces. Reining in his natural cowardice, Boris manages to distinguish himself on the battlefield and return home to Sonja (Diane Keaton), the love of his life. But in spite of their love, Boris and Sonja struggle to find happiness in an uncertain world.

Love and Death is a romantic comedy written and directed by Woody Allen. 19th-century Russia serves as the backdrop for a reluctant soldier’s journey through war, love, and social upheaval. Love and Death showcases the breadth of Woody Allen’s talents. The script features a wide range of humor, the acting and comedic timing are polished, and the story manages to feel satisfying in spite of its meandering nature.

More generally, Love and Death has a wonderful sense of proportion. It sprinkles in colorful characters and slapstick, historical humor and philosophy, wordplay and social commentary, all at the right places and in the right quantities. The variety keeps the tone light and breezy, while the humor has the insight it needs to keep the audience engaged throughout. Finally, Woody Allen and Diane Keaton play off each other with energy and skill.

Love and Death will appeal to a broad range of fans. The humor is broad enough to have something for everyone, while the touches of philosophy and more meaningful commentary will appeal to fans of that side of Woody Allen’s work. Give it a shot when you’re in the mood for something pleasant and absurd. Steer clear if you dislike Woody Allen or are looking for a more emotional story.

For a more fatalistic comedy set in historical Russia, try The Twelve Chairs. For a more colorful comedy with something of the same humor, try A Funny Thing Happened on the Way to the Forum. For a more exaggerated comedy, try Life of Brian. For a similar style of humor from Woody Allen, try Sleeper or Bananas. For a farther-reaching historical comedy, try History of the World: Part I.

[7.7 out of 10 on IMDB](https://www.imdb.com/title/tt0073312/). I give it a 7.0 to 7.5 for expert comedy.

Today’s quick review: The St. Valentine’s Day Massacre. In 1929, mob boss Al Capone (Jason Robards) has one rival for control over Chicago’s criminal underworld: Bugs Moran (Ralph Meeker), a bold upstart from the North Side. Their uneasy truce erupts in violence when Moran makes a move on Capone’s territory. In retaliation, Capone instructs Jack McGurn (Clint Ritchie) to orchestrate a counterattack that will take out Moran for good.

The St. Valentine’s Day Massacre is a historical crime drama based on a true story. The movie chronicles the escalating conflict between Al Capone and Bugs Moran in the weeks preceding the infamous bloodbath. The St. Valentine’s Day Massacre offers an inside look at one of the most tumultuous periods for Prohibition-era Chicago. Dramatic subject matter and a factual storytelling style make the movie a fine pick for the right viewer.

The St. Valentine’s Day Massacre gets most of its appeal from the back-and-forth between Moran and Capone. In a series of audacious moves, the two men try to cripple each other’s organizations, using clever ploys and brute force to take out important targets. The movie does a good job of laying out the cast of criminals involved, and the preparations for the attacks give the movie plenty of material to work with.

However, The St. Valentine’s Day Massacre is not as compelling as other crime dramas. The movie is a historical chronicle first and a story second, and the detached presentation style makes it hard to connect to any of the characters. Only Capone and Moran stand out as important, and even then, the movie never gets too personal with them. The result is a story that works well mechanically but doesn’t have a heavy human element.

How much you get out of The St. Valentine’s Day Massacre will depend on what you’re looking for in a crime drama. Fans of Prohibition-era gang warfare with an emphasis on plot over emotion will find the movie to be a solid choice, with good fundamentals and a fair amount of violence. Viewers who prefer more scripted stories with more of an emotional arc may want to look elsewhere.

For a more dramatically potent take on Al Capone, try The Untouchables. For a historical crime drama in the same vein, try Bugsy. For another Prohibition-era biography, try Public Enemies or Dillinger. For a modern take on Prohibition-era gang violence, try Miller’s Crossing or The Road to Perdition.

[6.7 out of 10 on IMDB](https://www.imdb.com/title/tt0062301/). I give it a 6.5 for rich subject matter and decent execution.

Today’s quick review: True Romance. Clarence Worley (Christian Slater), a comic book store clerk with an impulsive streak, meets the love of his life when he bumps into Alabama Whitman (Patricia Arquette), a call girl with the same taste in movies and music. Hoping to make a fresh start for both of them, Clarence kills Alabama’s pimp Drexl (Gary Oldman) and steals a suitcase full of uncut cocaine that will be worth a fortune—if they can sell it.

True Romance is a crime drama and romance about a newlywed couple with half a million dollars in stolen cocaine. Christian Slater and Patricia Arquette star as Clarence and Alabama, whose good chemistry and bad judgment land them at the center of a web of crime and violence. True Romance is a chaotic crime saga with a wry tone and undercurrents of love and loyalty. Its distinctive characters and writing make it a fun pick for the right viewer.

True Romance has the same sprawling plot and skewed perspective as a Tarantino movie, but with a greater sense of restraint. Clarence and Alabama are nobodies until their resourcefulness, their love for each other, and a little bit of luck gives them a shot at happiness. The story follows them as they dabble in drug dealing, shake off the police, and try to stay one step ahead of the mob as they follow their dream.

True Romance handles itself well. The pieces it has to work with are modest: a little love, some quirky dialogue, and characters who are more unhinged than they first let on. The movie’s skill lies in assembling those pieces into a cohesive whole. Clarence and Alabama are easy to like in spite of their bad decisions, and while the scope of the plot isn’t as grand as some crime movies, it’s interesting to watch the threads come together.

The result is an oddly charming movie for viewers who don’t mind a bit of violence. True Romance combines the visceral appeal of a crime drama with the lighter flourishes of a romance or a comedy, yielding a story that’s hard to predict but easy to watch. Fans of violent but upbeat crime movies will find True Romance to be a worthy pick. Sensitive viewers or fans of more conventional heroes will find it a little too far afield.

For a much more violent, surreal movie about a pair of criminals in love, try Natural Born Killers. For a sprawling crime saga in a similar vein, try Jackie Brown, Pulp Fiction, or Way of the Gun. For an action movie with some of the same quirkiness, try Desperado. For a crime comedy with an even more chaotic plot, try Snatch or Lock, Stock, and Two Smoking Barrels.

[7.9 out of 10 on IMDB](https://www.imdb.com/title/tt0108399/). I give it a 7.5 for likable characters and a strong plot.

“Life is a banquet, and most poor suckers are starving to death!” —Mame Dennis

Today’s quick review: Auntie Mame. After the untimely death of his father, Patrick Dennis (Jan Handzlik) is sent to live with his Auntie Mame (Rosalind Russell), a rich socialite with a flighty personality and eccentric friends. Not one to commit to any project for long, Mame nevertheless takes a liking to her young nephew and does her best to raise him well, even when hard times force her to give up her lavish lifestyle and seek an honest living.

Auntie Mame is a classic comedy about the changing fortunes of a middle-aged socialite and her loving nephew. The movie centers on the larger-than-life personality of Mame Dennis, whose friendly demeanor and broad but shallow interests make her the life of any party. Mame soon puts her own stamp on motherhood, and her relationship with Patrick endures through thick and thin. Light humor and a dash of heart make Auntie Mame a decent pick.

Auntie Mame’s strength lies with its main character. Mame is a dynamic character whose friends, life experiences, and lack of practical skills spice up any situation she’s in. The movie is a little too reliant on her for its comedy, gambling everything on a personality that simply won’t click with some viewers. The upshot is that Mame is an ample source of gags, and the film’s more dramatic scenes give her some much-needed depth.

Where Auntie Mame suffers is its story structure. The story is long and meandering, covering several distinct phases in Mame and Patrick’s lives. The different eras have very little to do with each other apart from the characters involved, and the tone vacillates between breezy comedy and borderline tragedy with little rhyme or reason. As a result, it can be hard to get into the larger rhythm of the movie beyond its individual scenes.

Auntie Mame is a hit-or-miss movie that will either be the touching tale of an optimistic woman finding her family or the rambling misadventures of a shallow socialite. Those with a taste for classic comedies who are willing to take a chance on an extravagant character may find that Auntie Mame finds a good balance of comedy and emotional impact. However, anyone who dislikes the main character will find that the humor and the story miss the mark.

[7.9 out of 10 on IMDB](https://www.imdb.com/title/tt0051383/). I give it a 6.5 to 7.0 for interesting character dynamics embedded in a messy story.

“Objection, Your Honor! Strangling the witness!” —Freddy Bender

Today’s quick review: Intolerable Cruelty. After five years of marriage, Marylin Rexroth (Catherine Zeta-Jones) finally has what she wants: proof that her wealthy husband Rex (Edward Herman) is cheating on her. Poised to make a fortune in the divorce, Marylin hits a roadblock when Rex hires Miles Massey (George Clooney), a suave and amoral divorce attorney who’s every bit as savvy as she is, to represent him.

Intolerable Cruelty is a romantic comedy from the Coen Brothers. George Clooney and Catherine Zeta-Jones play opposite each other as two alluring foes: a ruthless divorce attorney and cunning wife of his client. As Miles and Marylin match wits in the courtroom, they realize that they are a perfect fit for each other romantically—if they can find a way to make it work. Subtle humor, a quirky world, and an upbeat story make the movie a fun pick.

Intolerable Cruelty taps into the same style of humor as other Coen Brothers movies. The story takes place in a world that’s just a little exaggerated, full of slick lawyers, greedy wives, and wealthy, foolish husbands. Characters like Miles and Marylin hit a sweet spot: cartoonish enough to be funny, but human enough to be relatable. Seeing two masterful manipulators fight, flirt, and fall in love gives Intolerable Cruelty plenty of appeal.

For better or for worse, Intolerable Cruelty does not go as far as other Coen Brothers movies. The plot has plenty of moving pieces, but it is simple compared to the chaos seen in films like O Brother, Where Art Thou? or Burn After Reading. The script runs on absurdity and irony, taking the bitter and acrimonious divorce process and turning it into a playful competition. The jokes are subtle, numerous, and fly by quickly.

Intolerable Cruelty does not reach the heights of the Coen Brothers’ best work, either in terms of its script or its overall vision, but it has enough of their quirky charm to be a thoroughly enjoyable watch. For the right viewer, Intolerable Cruelty will be a lighthearted romp that mixes absurdity, romance, and satire in equal measure. Skip it if you want a more overt comedy or you dislike the Coen Brothers’ style.

For a more subdued George Clooney movie that explores a similarly superficial character, check out Up in the Air. For a Coen Brothers movie with some of the same tone to it, try Burn After Reading or Hail, Caesar!. For a raunchier comedy about divorce attorneys finding love, try Wedding Crashers.

[6.2 out of 10 on IMDB](https://www.imdb.com/title/tt0138524/). I give it a 7.0 for clever humor and a fun story.

“I find myself in an extremely awkward position.” —Cas

Today’s quick review: Casanova Brown. Casanova Brown (Gary Cooper) is on the eve of marrying Madge Ferris (Anita Louise) when he gets the news that Isabel Drury (Teresa Wright), his one-time bride, might be pregnant. Racing to Chicago to see if the news is true, Cas recalls the circumstances of his abrupt marriage to Isabel and their speedy annulment. Now Cas must decide whether to return to Isabel or stay with Madge.

Casanova Brown is a classic romantic comedy about a man torn between the woman he’s about to marry and the woman he already did. Gary Cooper stars as Casanova Brown, a mild-mannered literature professor whose brief fling has come back to haunt him. The movie draws its humor from colorful characters and the tangle matrimonial situation Cas finds himself in. But in spite of some credible humor, Casanova Brown ultimately falls flat.

Casanova Brown misplays its hand. The movie relies heavily on eccentric characters like Madge’s father J.J. (Frank Morgan) to inject comedy into its scenes. The characters work well enough, but they carry too much of the weight, making the humor feel forced. Casanova Brown is also more reliant on misunderstandings than other comedies, with frustrating sequences that hinge entirely on characters being too passive or too presumptuous.

How much you get out of Casanova Brown will come down to taste. Fans of classic madcap comedies will find something to like, thanks to some decent gags and a situation that rapidly spirals out of control. But the movie is missing the clever humor, the nuance, and the sharply coordinated story that the best comedies have, leaving it an uneven watch with a mediocre payoff. Interested viewers should approach with caution.

For a classic madcap comedy about mild-mannered man waylaid on the eve of his wedding, try Bringing Up Baby. For a more tragic love story starring Gary Cooper, try The Wedding Night. For a modern, minimalistic drama where a man takes responsibility for an affair, try Locke.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt0036699/). I give it a 6.0 for spirited humor that largely misses the mark.