A guy who danced with what could be the girl of his dreams at a costume ball only has one hint at her identity: the Zune she left behind as she rushed home in order to make her curfew. And ... See full summary »
Teenager Holly Hamilton is tired of moving every time her single mom Jean has another personal meltdown involving yet another second-rate guy. To distract her mother from her latest bad ... See full summary »
Identical twins Annie and Hallie, separated at birth and each raised by one of their biological parents, later discover each other for the first time at summer camp and make a plan to bring their wayward parents back together.
At college Paige meets Eddie, a fellow student from Denmark, whom she first dislikes but later accepts, likes, and loves; he proves to be Crown Prince Edvard. Paige follows him to Copenhagen, and he follows her back to school with a plan.
Daphne, a seventeen-year-old girl from New York goes to England in search of her father, who does not know he had a child with an American girlfriend he met while working in Morocco, and whose aristocratic family did not approve of the woman. Written by
The Reynold's house in England was also used for the films Gosford Park (2001) and The Importance Of Being Earnest (2003). See more »
The registration number of the taxi the young Libby leaves in is, at first, CYP 44V - when her bags are thrown in. This is recycled footage from shots of the same vehicle (CYP 44V) which we see the older Libby and daughter Daphne leave in towards the end of the film. Additionally, as the younger Libby leaves, after her bags are thrown in, the registration number changes to MMX 902L (a vehicle seven or eight years older). See more »
My evil stepsister, you've seen Cinderella, right? Let me clue you in, I win.
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"What a Girl Wants" is a re-tooling/re-telling of William Douglas Home's "The Reluctant Debutante" with the devastatingly charming Amanda Bynes in the title role; in fact 'charming' is the operative word here -everything about the movie is charming, and charmed.
The casting: impeccably superb. Amanda never hits a false note throughout the proceedings, creating a character who is genuinely believable, lovable and worth cheering for (there was a LOT of clapping in the theatre at various points in the film - I clapped AND whistled, myself); Kelly Preston is radiant as Daphne's mother Libby, a musician who still deeply loves Henry, Daphne's father, but has gone on with her life, and Colin Firth (as Daphne's father, Henry Dashwood) is a revelation here, in that he literally becomes more and more attractive as the tale unfolds - as he becomes more and more who he really is underneath his repressed exterior (the scene where he dons his black leather pants and prances in front of the mirror to the horror of his prim prude of a fiancee is priceless), and Oliver James as musician Ian, Daphne's love interest, makes a memorable splash here as well. Everyone else is perfect in their roles too (even the dog rocks).
The screenplay and direction: completely on the mark. Never gets heavy-handed, contrived, mean-spirited, cloying or tedious, believe it or not. The charm is sustained throughout in a dazzling balance of comedy, heartfelt emotion, conflict and growth, culminating in one of the most satisfying resolutions I've experienced in a movie in a long time.
Occasionally, a movie can have predictable elements without that being a bad thing; sometimes predictable elements can be pleasurable -- you realize what's going to happen but you also realize you're in such capable hands that you actually anticipate the playing-out of the scenes you know will occur. Sometimes it's not WHAT is done in a movie but HOW it's achieved, and WHO is doing the achieving.
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