While visiting his hometown during Christmas, a man comes face-to-face with his old high school crush whom he was best friends with -- a woman whose rejection of him turned him into a ferocious womanizer.
Bell and Belle want to break out of their trailer park lives and get up and out to the "Big City" of Atlanta. Just when they think they are on their way to getting a nest egg Bell falls for a handsome police officer named Rhett Butler.
Paul S. Myers,
In New York, when the shy and lonely project manager of a design firm Matt Saunders meets Jenny Johnson in the subway, he invites her to date and have dinner with him. Jenny immediately falls in love for him, they have sex and she discloses her true identity to him, telling that she is the powerful superhero G-Girl. After meeting his co-worker and friend Hannah Lewis, the needy Jenny becomes jealous, controlling and manipulative, and Matt follows the advice of his best friend Vaughn Haige and dumps her, breaking her heart. Jenny turns Matt's life into hell, while he has a romance with Hannah. However, the archenemy of G-Girl and former high school sweetheart of Jenny, Professor Bedlam, proposes Matt to lure Jenny to strip her superpowers. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In the flashback in which we see the meteor land, the trajectory of the meteor implies a landing point many miles into western New Jersey (the Manhattan skyline is visible in the same shot). Barry and Jenny, on the eastern shore of New Jersey, are the first people to reach the meteor, which is absurd. See more »
Superhero romantic-comedy with nothing funny nor romantic in it...
It's easy to see how this below-average screenplay got by in the early sales-pitch meetings at Regency Films (and later with Fox): cross the superhero genre with a comedic take on "Fatal Attraction"...voilà! I don't know how on earth a talented director like Ivan Reitman got involved, unless the pay was just too tempting. A dateless employee at an architectural design firm in N.Y.C. meets a girl on the subway and asks her out; despite the fact she's distracted and unpleasant, he eventually gets her into bed--only to find out later she's the Big Apple's resident superhero, G-Girl. This distaff Superman, with powers bestowed upon her by a fallen meteorite, isn't a fantasy heroine, however...screenwriter Don Payne has conceived her as a needy, possessive, vindictive bitch (he telegraphs this to us from miles away, though Uma Thurman still plays the role for sassy laughs). This is the kind of worthless movie that can't let an insult slip by. Our introduction to leading man Luke Wilson, talking with Rainn Wilson on the train, is accompanied by a sour dig at gays (it prods at us to be assured these two buddies are strictly ladies' men). After being approached by G-Girl's nemesis, who wants to zap her powers, Wilson is told this will make her just an ordinary woman scorned...and isn't that better after all? Thurman's early performances in films like "Henry & June" and "Jennifer 8" showcased an intelligent woman with angular grace and hypnotic poise; her films with Quentin Tarantino helped expose her sinewy hardness and intensity, but that came at a price (the actress has seemingly lost her graceful touch). The picture is exceedingly well-produced and shot, with expensive-seeming special effects, yet nobody bothered to find the humor in this scenario. It's pushy, leering, ugly, and badly-cast. Bloated, frozen-faced Wilson can't tell any of his co-workers that he's dating G-Girl because she made him swear he'd rather have a chainsaw stuck up his rectum. I wonder if writer Payne actually thought that was hilarious...or, indeed, if anyone involved did? * from ****
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