Benjamin Barry is an advertising executive and ladies' man who, to win a big campaign, bets that he can make a woman fall in love with him in 10 days. Andie Anderson covers the "How To" beat for "Composure" magazine and is assigned to write an article on "How to Lose a Guy in 10 days." They meet in a bar shortly after the bet is made.
Henry Roth is a man afraid of commitment up until he meets the beautiful Lucy. They hit it off and Henry think he's finally found the girl of his dreams, until he discovers she has short-term memory loss and forgets him the very next day.
When her brother decides to ditch for a couple weeks in London, Viola heads over to his elite boarding school, disguises herself as him, and proceeds to fall for one of her soccer teammates. Little does she realize she's not the only one with romantic troubles, as she, as he, gets in the middle of a series of intermingled love affairs.
Anna Foster has never had an ordinary life. At eighteen years old, she is the most protected girl in America; she is the First Daughter. Frustrated with her overprotective father, the ... See full summary »
Anna Brady plans to travel to Dublin, Ireland to propose to her boyfriend Jeremy on February 29, leap day, because, according to Irish tradition, a man who receives a marriage proposal on a leap day must accept it.
A romantic comedy: Alex is an author whose writer's block and gambling debts have landed him in a jam. In order get loan sharks off his back, he must finish his novel in 30 days or wind up dead. To help him complete his manuscript he hires stenographer Emma. As Alex begins to dictate his tale of a romantic love triangle to the charming yet somewhat opinionated stenographer, Emma challenges his ideas at every turn. Her unsolicited yet intriguing input begins to inadvertently influence Alex and his story and soon real life begins to imitate art. Written by
Endearing Hybrid of ADAPTATION and PARIS WHEN IT SIZZLES
Rob Reiner's return to the romantic comedy genre starts out pleasant but unremarkable -- that is, until the Central Casting Cuban loan sharks leave (though it's funny when they appear in the novel-within-the-movie as shady flamenco dancers) and wastrel writer Alex Sheldon (any relation to Paul Sheldon in Reiner's earlier adaptation of MISERY? Hmm... :-) starts dictating his novel to smart, opinionated stenographer Emma Dinsmore. That's when ALEX & EMMA springs to life like a goofy cross between ADAPTATION and PARIS WHEN IT SIZZLES. Luke Wilson is likable enough as Alex, but I must admit I think his brother Owen Wilson would've brought more verve and magnetism to the role. (Man, Owen Wilson and Kate Hudson together on the big screen -- I'd pay full admission price for that! But I digress... :-) As Emma, our household fave Kate Hudson plays a slightly starchier brunette version of her usual endearing self. In particular, she seems to be having great fun playing not only Emma, but also several variations of the same constantly-revamped au pair/cook/all-purpose domestic in Alex's novel-in-progress as it's enacted onscreen. I liked Emma as soon as I realized she and I share a certain quirk: we both like to read the end of books before buying them (albeit for slightly different reasons: Emma feels if the ending isn't good, it's a waste of time to read the book, whereas I like to see how the rest of the book happened to lead up to that particular ending. But I'm digressing again -- this movie had that effect on me; make of that what you will! :-)! I think writers would appreciate ALEX AND EMMA more than most moviegoers, if only because it does a pretty good job of getting into a writer's head, and the gags involving the novel-within-the-film are funny and inventive. Interestingly, ALEX & EMMA is very loosely based on Dostoyevsky's relationship with his stenographer, who he wed in real life. In fact, the movie's original title, LOOSELY BASED ON A TRUE LOVE STORY, would also have fit the novel-within-the-film, which turns out to have more parallels with Alex's real-life experiences than he'd previously admitted. (THOSE SWEET WORDS would've been a good title as well, especially since that's also the name of the Norah Jones song over the end credits.) Anyway, ALEX & EMMA would be a nice "date movie" for writers and the people who love them; now that it's available on home video, why not rent it for a snuggly movie-watching evening at home? :-)
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