Manhattan. Halley loves Dag, a philanderer who claims he's reformed. Peter, Dag's best friend, loves Rebecca, a suicidal dancer who sleeps around without Peter's knowing. When Halley and Peter learn that Dag and Rebecca have slept together (it started with just a kiss), Halley leaves Dag, and Peter is wounded. In their suffering, Halley meets Andre, a cellist; Peter meets Colleen, Andre's wife; and, a remorseful Dag meets Paula, an edgy waitress with a crush on Peter. Couplings follow; then, several characters end up in hospital. Paula becomes an avenging angel, and Peter may be her next victim. Is there any way these relationships can be set right? Can we go back to that kiss?Written by
I took this movie because my wife wanted a romantic comedy. It is slightly comedy as well as romantic, but IT IS NOT a romantic comedy. What it is is one of those situational movies which exploit the butterfly effect in relationships and in the end everybody ends up knowing everybody and having a connection to them and facing consequences for the things they did in the first start of the movie.
The graphical effects are nice sometimes, but completely unnecessary. After I watched about 80% of the film I have already decided that it is better than a romantic comedy, as I wasn't bored out of my socks, but worse than any other type of movie. I've already labeled it average and I was waiting for the end. The end, though, transformed into a short "what if" mini-movie that canceled all the bad effects of the first part of the film. I didn't like that, really.
So, in conclusion, while it was a rather original take on an old story, it failed to deliver entertainment or at least the discovery of one's true hidden feelings as some of these romantic experiments end up doing. You just watch the movie, completely disconnected and vaguely aware of the emotions of the characters, then it ends.
11 of 14 people found this review helpful.
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