For Love or Money

The selling point of For Love or Money is the outrageous premise that’s established well in the trailer.  It offers a familiar dynamic, but is so suggestive towards the film’s comedic potential that viewers are naturally reeled in.  If you enjoyed How to Lose a Guy in 10 Days or What Happens in Vegas, here’s a movie for you.


No Stranger Than Love

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).



Watching Mortdecai is painful in the same awkward way being an outcast at a shrill party can be.  Everyone is having so much fun with themselves that they forget to include you.  I can’t say that I was jealous from being left outside Mortdecai’s social circle though – I was too irritated to care.


She’s Funny That Way

By: Addison Wylie Peter Bogdanovich (director of The Last Picture Show, Paper Moon, and What’s Up, Doc?) must have tons of clout.  This would explain the overconfidence in his latest film She’s Funny That Way. This star powered, ode to screwball farces couldn’t help but remind me of when the Farrelly Brothers made a feature-length Three Stooges movie.  Bogdanovich has made the movie he wanted to make, but the film itself reinforces that it’s currently hard…


Serial (Bad) Weddings

By: Addison Wylie Serial (Bad) Weddings is a funny flick before it gets cold feet. Christian Clavier is the deadpan Claude Verneuil, a father who is constantly faced with cultural differences.  Three daughters all marry over the course of three years, and all fall in love with men of different cultural backgrounds.  The Verneuil’s welcome Chinese, Muslim, and Jewish ethnicities.  The men are all standoffish with each other, the women are defensive, and the parents…


If I Were You

By: Addison Wylie It’s appropriate that If I Were You’s climax includes a theatrical production because Joan Carr-Wiggin’s film is a full-on farce that would play well on stage. When I say “farce”, I mean a comedy of errors set at Defcon 4.  This is the type of film where someone ties a noose around their neck with full intentions to hang themselves, only to forget about the rope until they try and walk to…