romantic comedy
In our latest entry of The Nominated Film You May Have Missed series, we discuss the 1995 timeless classic Sense and Sensibility.
With occasional heartfelt moments that catch you off guard and the laughter you expect from a comedy, When We First Met falls flat, lacking a fresh enough story to save it from feeling limp.
Qarib Qarib Singlle is perfect thanks to the undemanding running time, whimsical characters, and fresh elements to a classic formula.
While neither boring or a laugh-riot, Crash Pad is a perfectly fine and forgettable way to pass ninety minutes.
Equal parts funny and realistic, Different Flowers is a wonderful love letter to the Midwest, and the strength of familial love.
Literally, Right Before Aaron is a hugely entertaining romantic comedy which doesn’t shy away from the awkward realities of real life.
Home Again is a stale romantic comedy that feels like a waste of the talents of everybody involved, feeling boring and aimless throughout.
Although filled with flaws, this charming mini-sequel, Red Nose Day Actually is hard to criticise due to its good, charitable intentions.
Nora Ephron’s You’ve Got Mail has been accused of everything from misogyny to being capitalist propaganda – Julia Smith thinks otherwise.
The unoriginal, uninspired premise of stoner comedy Ripped is partially saved by the dedication of the two lead actors.
Gone is the heyday of the classic 90’s romantic comedy, but why is it that so many contemporary romantic comedies fail?
The Lovers is an alternative romance that considers the harsh reality that maybe one love isn’t forever, and is simply the stuff of movies.
The Big Sick is not another run-of-the-mill rom-com: it’s got heart, humor, a touching story, and a refreshing take of immigrant life.
Thirty years on, Alan Clarke’s fitfully funny film, Rita, Sue and Bob Too, still holds up as a first-rate character study and resonant critique of the Thatcher era.
Filmmaker and actor Brendan Bradley discusses the increasing role that social media is having on creativity and the power of filmmaking.