In Steven Soderbergh's "Out of Sight," George Clooney and Jennifer Lopez memorably created romantic sparks while huddled in the trunk of a car.
"Up in the Air" makes it look easy. Not just in its casual and apparently effortless excellence, but in its ability to blend entertainment and insight, comedy and poignancy, even drama and reality, things that are difficult by themselves but a whole lot harder in combination.
For the most romantic season of the year, "Valentine's Day" follows a group of people, whose paths crisscross and mesh together in one sickly sweet dose of Valentine's make-ups, break-ups, and painfully enduring relations.
We have reached a point in our movie-going-life where the two most horrifying words a studio can mutter are "Robin" and "Williams." I'm sorry, it's true. Throw in "John" and "Travolta" and "Saw VI" starts to sound like "Bambi."
Few cinematic pleasures are as sublime as George Clooney in full Clark Gable mode, as he is for much of the comedy "The Men Who Stare at Goats."
The characters in "Couples Retreat" live in a world of marital clichés. The guys bond over beer in the living room while their wives sit in the kitchen with glasses of chardonnay.
A self-conscious glut of creamy skin, perfect wardrobes, spotless home furnishings, misogyny, chauvinism, inevitability and incessant banter, "The Ugly Truth" takes everything that is rom-com to the hysterical and delightful max.
The general impression of a New York love story is usually between a handsome, mature, successful man and a young, sweet heroine.
A screwball comedy for the New Depression, "The Brothers Bloom" makes an abundant number of erudite references that mean almost nothing, and like most con-man movies, it can't be trusted.
What is it about the sensual onstage twirling in "Dirty Dancing"? What is it about Ferris Bueller doing the twist, with all of Chicago at his feet?