By: Jessica Goddard Home Again is for Hollywood, by Hollywood, about Hollywood. If you can deal with that, you might enjoy this safe and well-meaning romantic comedy. Hallie Meyers-Shyer’s Home Again (a title which never ends up making any sense) is rarely laugh-out-loud funny, but it’s often endearing in a snort-and-smile kind of way.
I’ve criticized romantic comedies for being too quirky, too plucky, and too light. However, it’s been because these over-saturated films have also tried to sell audiences phoney sentimentality while peddling hammy humour – it’s an uneven combo. Bakery in Brooklyn picks one side and sticks with it, which is why it’s receiving a hearty recommendation.
After a string of disheartening rom-coms, I really thought Better Off Single was going to cheer me up. It had a few good laughs out of the gate, and it was neat to see what Aaron Tveit could do with a sadsack role after wowing audiences in FOX’s Grease LIVE! as T-Bird Danny Zuko. Unfortunately, writer/director Benjamin Cox provides an excitable energy that becomes the film’s worst enemy.
Look Again has an interesting concept, but stops at its moral dilemma. It even feels like it begins fifteen minutes into its own story, not giving audiences a fair chance to bite into any leading characters. The film is filled with ideas and questions and confrontations that are better suited for a stage show developed by a flavourful improv troupe.
Being a film critic, you witness certain – shall I say – ebbs and flows; usually reflecting on what mainstream audiences are demanding or what studios are labelling “hot”. I usually understand trends in popularity, but the volume of Canadian productions dabbling in supernatural quirky comedies is stunning.
No Stranger Than Love is known around the Wylie household for its unofficial working title I’ve coined – the ‘Alison Brie Hole-in-the-Floor’ movie. However, the only memorable aspects of Nick Wernham’s rom-com are those two details – the former Community actress and the bottomless pit that randomly sprouts in her living room and gobbles up a promiscuous co-worker (Colin Hanks).
Many will flock – or have flocked – to Hello, My Name Is Doris based alone on the star power of Sally Field. Having stayed out of the limelight except to play Mary Todd Lincoln and Spider-Man’s aunt, Field finds a fitting return to classic, unforgettable finesse with her role as meek accountant and closeted hoarder Doris Miller.
It’s usually a treat when a film holds a mirror up to itself and cackles. In this case, Mr. Right flies out of the gates with flippancy towards action films, buddy comedies, and farfetched rom-coms.
There are movies by Garry Marshall that are “very Garry Marshall”, and movies that are “sort of Garry Marshall”. Mother’s Day is – most definitely – “very Garry Marshall”.
In Geordie Sabbagh’s indie A Sunday Kind of Love, the audience follows an aloof, cynical author Adam (played by Dylan Taylor) as he struggles through his writer’s block and procrastinates. His girlfriend Tracy (played by Meghan Heffern) tries to motivate him, but his moping is unstoppable. He retreats to a nearby coffee shop and meets Emma (played by Melanie Scrofano), who presents herself as an admirer and soon reveals that she’s actually, well, death (sans black cloak and scythe).