By: Addison Wylie I’ve accused some filmmakers and actors of being secret admirers of romances and rom-coms. Chris Evans (Captain America himself) can be added to that list for he not only frequents rom-coms (including this year’s smug Playing It Cool), but he has also unwisely started his directorial career with the lovey-dovey Before We Go. Evans’ romance doesn’t give in to typical clichés – it throws itself at them. Pardon the blasé backlash, but…
By: Addison Wylie How to Make Love Like an Englishman is such a long title. A shorter alternative would be: Weekend Matinée for Mom and Dad. Like last year’s cloying And So It Goes, Tom Vaughan’s rom-com is a film that uses the likability of its stars as counter programming to attract movie goers – primarily older ones who want to spend the tail end of Summer distancing themselves from bombastic blockbusters. Luckily, How to Make…
By: Addison Wylie Trainwreck is much more than a vehicle for rising comedic star Amy Schumer. It’s easily Judd Apatow’s strongest work as a filmmaker, evidence that Schumer’s honesty flows through her long form screenwriting, and the best romantic comedy this critic has seen since 2008’s criminally underrated Definitely, Maybe. Definitely, Maybe is a standard sort of rom-com, where Trainwreck sends home the same type of charm but also reflects contemporary pessimism towards romance. It…
By: Addison Wylie I went into After the Ball already admiring three of its main stars: director Sean Garrity, co-writer Kate Melville, and actress Portia Doubleday. After the Ball isn’t a type of film I get excited to see, but these are three people I’ve been wanting to see more of ever since they’re strong debuts. Garrity impressed me with his slow burn drama Blood Pressure, yet temporarily lost me when his filmmaking pizazz was…
By: Addison Wylie Playing It Cool has its cake and eats it too, and knows damn well what it’s doing. However, director Justin Reardon is no David Wain or Charlie Kaufman, and Playing It Cool is nowhere near as clever as They Came Together or Adaptation. Reardon ventures into feature films with this smug rom-com send-up involving a bitter screenwriter (played by Chris Evans) who is given the task of writing a romantic comedy. He…
By: Addison Wylie The conception of a movie like And So It Goes doesn’t so much start with an outline or a series of ideas. It begins with a demand no one has demanded; except for zealous producers who think they know their desired demographic. The general public likes Michael Douglas and those same patrons are most likely to enjoy watching Diane Keaton. The brains behind And So It Goes have taken these two variables…
By: Addison Wylie I bet if we scoured filmmaker David Wain’s DVD collection, we would find romantic comedies. A lot of them. It takes a certain kind of guilty affection to lampoon a genre this immaculately. That’s what the absurdist has done with fellow writing cohort Michael Showalter. The two collaborated on the cult hit Wet Hot American Summer – which took the piss out of camp movies – and now they go for the…
By Parker Mott It’s hard to watch The Other Woman without bringing into the equation James Toback’s remarkable 1997 feature Two Girls and a Guy, a talk-heavy, one-room dramedy about two women (played by Heather Graham and Natasha Gregson Wagner) who discover they are dating the same man (played by Robert Downey, Jr.) and then conspire to make him suffer for his cheating ways. The movie found ingenuity in the shameless rationale of its male…
By: Addison Wylie If That Awkward Moment wanted to be a standard decently funny rom-com, I wouldn’t have minded. I would’ve been disappointed and miffed a smidgen because I know the leading talent in front of the camera deserves (and can deliver) better results, but this could’ve been that inching exception. If typical scary movies can keep horror hounds busy until the January doldrums end, why can’t the romantic comedy genre have its “free pass”…
By: Addison Wylie Here’s an interesting proposal. Take the producers behind romantic hits such as Love Actually and Bridget Jones’ Diary and apply their genre knowledge in a direction that turns romantic comedies on their ear. Then, bring in Dan Mazer to write and direct the sweet and salty hybrid. Mazer has plenty of experience shocking audiences with filthy jokes. His résumé consists of behind-the-scenes work on Da Ali G Show as well as lending his penmanship…