Currently browsing the "romcom" tag.

Review: Love Wedding Repeat

My “Cinema Clash” podcast partner Charlie asked if I had watched Love Wedding Repeat on Netflix yet, suggesting it was a “Hannah movie.” In theory, he was right. It’s a chick flick, a romantic comedy with a potentially engaging premise, and British actor Sam Claflin (Me Before You, Adrift, Journey’s End) channeling the RomCom sensibilities of Hugh Grant. Given the dearth of new releases during the current pandemic, I figured it was worth checking out. Sadly, I was the one checking out mentally as the 100-minute movie meandered along at a surprisingly slow pace. I kept waiting for the plot to kick in. Or the romance. Or the comedy. Love Wedding Repeat is short on all three. Claflin’s chops – and charm – are sorely wasted. Even the film’s backdrop – Italy! – is wasted, as most of the “action” takes place during an indoor wedding reception.

Review: Long Shot

Seth Rogen comedies tend to be hit or miss for me. Long Shot straddles the line, eeking out on the side of okay, though somewhat disappointing given the tremendous buzz it received coming out of the uber-cool SXSW film festival. Maybe I’m just getting old. But I don’t find the idea of a Secretary of State defusing a crisis while high on ecstasy to be all that funny. It is, however, quintessential Rogen. So if you’re a fan of films like This Is The End, Superbad and Pineapple Express, then you know what you’re in for with Long Shot. The biggest difference is that Long Shot aims for romantic political comedy in addition to raunchy comedy, with an assist from Oscar-winning dramatic actress Charlize Theron (Monster, Tully, Atomic Blonde).

Review: Love, Simon

There’s plenty to love about Love, Simon. It’s a charming romantic dramedy about a cool high school senior who has an awesome family, a great circle of friends, and one big secret: he’s gay. This isn’t some small indie drama that weighs heavy on the soul. It’s a sweet, lighthearted, relatable coming-of-age and coming-out story that plays a lot like a typical John Hughes teen ensemble movie updated for the times, where snapchat, texting and online forums are a primary means of communication. It’s backed by a major studio (20th Century Fox) so it actually has a fighting chance to reach a wide, mainstream audience – as it should.