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.
At the age of 21, Tim discovers he can travel in time and change what happens and has happened in his own life. His decision to make his world a better place by getting a girlfriend turns out not to be as easy as you might think.
Good girl Sandy Olsson (Olivia Newton-John) and greaser Danny Zuko (John Travolta) fell in love over the summer. When they unexpectedly discover they're now in the same high school, will they be able to rekindle their romance?
Against the backdrop of aged has-been rock star Billy Mack's (Bill Nighy's) Christmas themed comeback cover of "Love Is All Around", which he knows is crap and makes no bones about it, much to his manager Joe's (Gregor Fisher's) chagrin as he promotes the record, several interrelated stories about romantic love and the obstacles to happiness through love for Londoners are presented in the five weeks preceding Christmas. Daniel's (Liam Neeson's) wife has just died, leaving him to take care of his adolescent stepson Sam (Thomas Brodie-Sangster) by himself. Daniel is uncertain how to deal with Sam and his problems without his wife present, especially in light of a potential budding romance within their household. Juliet (Keira Knightley) and Peter (Chiwetel Ejiofor) have just gotten married. They believe that Peter's best friend and best man Mark (Andrew Lincoln) hates Juliet, but won't say so to his or her face. Others looking at the situation from the outside believe Mark is jealous of...Written by
Hugh Grant and Colin Firth were born one day apart. Grant on September 9, 1960 and Firth on September 10, 1960. See more »
When the PM is reading Natalie's Christmas card, you can see she wrote "Chistmas" instead of Christmas. See more »
Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that. It seems to me that love is everywhere. Often, it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know, none...
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Carol Anne, American Goddess - Elisha Cuthbert See more »
There are two instances of switched music between the UK and US versions of the film. In the UK version, the montage introducing the office Christmas party is set to "Too Lost in You" by Sugababes, while the US version of the film replaces it with "The Trouble With Love Is", performed by Kelly Clarkson. Then, during the second half of the end credits after the Clarkson song plays (for the second time in the US version) the UK version concludes with a cover of "Jump (For My Love)", performed by Girls Aloud. This song does not appear at all in the US version, which concludes with the Sugababes song that the UK version used at the party. The 2009 US Blu-Ray actually contains the UK cut of the film, while the original US DVD had the US cut. See more »
It has been a long time since I have seen a movie so rich in character that I did not want it to end. Love Actually is not a love story, it is a story about love. Love that reinvents itself, multiplies itself, opens itself up, and even devastates.
I am sure the film has its critics who say it drips in buttery corn. But when you are able to retreat inward and let it take you over, it is impossible not to feel. It is a rare treat - a film that makes you feel. During the process I was sad and happy and relieved. I was turned on, turned off, dizzy and grounded.
I was in love one time and it reminded me of that. The power of cinema can be that amazing, it can be that intense. The title of the movie is, perhaps, meant to confuse. Yet I believe it is designed to ask. Love Actually is ... what?
Is it lust? Or a deep appreciation of the past? Can it be conquered by language or political barriers? Race? Infidelity? Age? Can it be all of the above plus more? Maybe a mingling of several?
It is rare for a film of great acting to be married to a terrific script. Yet it is something else for it to speak right to the audience; not talk at them, not try to sell them a film. Let them experience the film. Let it wash over them little by little until there is nothing more of them left.
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