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.
In London, Iris Simpkins writes a wedding column in a newspaper and nurtures an unrequited love for her colleague Jasper Bloom. Near Christmas, she is informed that Jasper is engaged to marry another colleague, and her life turns upside down. In Los Angeles, the movie-trailers maker Amanda Woods has just split with her unfaithful boyfriend Ethan and wants to forget him. Through a house exchange website, Amanda impulsively swaps her mansion for Iris' cottage in Surrey for the holidays. While in Surrey, Amanda meets Iris' brother and book editor Graham and they fall in love with each other. Meanwhile, Iris meets her new next door neighbor the ninety year old screenplay writer Arthur, who helps her retrieve her self-esteem, and the film composer Miles, with whom she falls in love.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The house used for Arthur Abbot's actually belonged to Phyllis Diller at the time of shooting and is located in the Brentwood section of LA. See more »
In the scene where Iris is looking through Amanda's DVD collection (approximately 34 minutes into the movie) there are two identical copies of The Glass House visible on the same shelf just a few DVDs apart. See more »
Arthur, I've been going to a therapist for three years and she's never explained anything to me that well. That was brilliant. Brutal, but brilliant.
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Sometimes there just isn't enough vomit in the world.
I went to see this film because some of it was filmed near where I live and I wanted to see what my town looked like when airbrushed to within an inch of its life and covered in fake snow. Also because generally I'm as much of a sucker for a rom-com as the next girl.
Oh dear. Surely there is only so much twee, fluffy cuteness and cliché that one film can contain - well you'd think so, anyway - but this one goes for the all time record.
The cinematic equivalent of eating a half-ton marshmallow sprinkled in artificial sweetener. Had I not been trapped in the middle of a row I would have walked out - very rare for me - as more and more sappy piffle, two-dimensional characters and paint-by-numbers acting were paraded before me.
If you are someone who harbours any kind of suspicion that it might be possible to live some fragment of a fulfilling life whilst - dare I say it - single, then please learn from my mistake and do not waste two precious hours of your life on this film. Sticking your fingers down your throat is a cheaper and much more expeditious means of achieving the same effect without having your intelligence insulted.
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