Romance/Rom Coms

Look Both Ways:

Storyline:
On the eve of her college graduation, Natalie's life diverges into parallel realities: one where she gets pregnant and the other where she moves to LA to pursue her dream career.

Despite the utterly horrific self-sabotaging protagonist, this film is not what it looks like. Though it has the strictly set up plot and rudimentary flow of a Netflix story, this parallel reality is quite creative and honestly, really entertaining. And while I wouldn't come close to demanding that it must be seen by all, it isn't a bad watch and gets you thinking, whether you realize it or not.

Given the time variation was not presented most clearly and defiantly possible, it left an incredible amount of room to get caught up. That said, there were some physical features to help distinguish which time frame was playing out, but the majority was wasting time trying to figure out what reality was happening instead of soaking up the story.

Nevertheless, having a cast with chemistry and a story that was written to be colorful, it develops into a pretty well-executed film, all things considered. This was not meant to be worth anything more than a cheaply done Netflix product, but when it exceeds expectations, it becomes much more intriguing.

Look Both Ways is not for everyone - and you'll know who you are in the first 10 minutes - but it provides a relieving change of pace from the agonizingly identical rom-coms that come out every week nowadays. We need more of these light-hearted, carefree, and solidly average 6/10 films in the genre that just don't get made like they used to anymore.

6/10

The BAM! rating is a newly integrated rating scale in addition to the critic rating each film gets. BAM! is simply the entertainment value that is solely based on whether or not a film is worth watching. A film can have a high BAM! rating and a low critic rating or vice versa.

6.5/10

Purple Hearts:

Storyline:
In spite of their many differences, Cassie, a struggling singer-songwriter, and Luke, a troubled Marine, agree to marry solely for military benefits.

While I can objectively say this film was not made well, nor did it hold any features that I would classify as creative, somehow, Purple Hearts keeps you watching until the very end - and you can find yourself smiling and giggling all the way through.

I give props to this story being unlike the others, and that's not toward its Hallmark predictability and horrendous performances. Rather, it's for the premise of a romance centered around a fathomable idea, not to mention the fact that it's never really been done before. Though the nitty-gritty of the “plot" does not begin to brush the surface on real-life consequences, this unexplainably doesn't seem to matter. The focus is on the hopeless romantic love story and that's exactly what happens, as every other critical implication fades away.

Painful, never-ending musical performances, a mass amount of piling-up subplots, and plot holes that are simply thoughtless are just the beginning of the list of things this film gets wrong. Yet, the chemistry that shines and the enemies to lovers trope creates a tone that is nothing short of lifelike and puts the audience into a world that's livable.

Good bad movies are quite frankly one of my favorite genres. From predictable endings to foreseeable conflicts to uncomfortable acting, they never fail to keep you amused. Sometimes you want to forget the cinematic masterpieces and just enjoy a truthfully terribly made, well-executed story - and Purple Hearts is the newest addition.

4/10

7/10

Moonshot:

Storyline:
Two college students join forces to be reunited with their significant others, embarking on a lively journey that takes them wildly off course.

Though partially credited to the lack of advertising or the sheer need for quickly made, decently portrayed romcoms were in the lack of nowadays, Moonshot simply works. While it is as far from perfect as you can get and is painfully predictable, I somehow liked it, with all things considered.

Given that the main characters are set up for the worst in terms of the absence of any development or substance to go along with building them up, although it is noticeable, it's not a large complication. The actors are dedicated to their roles in providing a compelling ride, no matter if 95% of what they're saying is forgettable. What shines the most, rather, is the fun progression in which it takes place and the feeling it achieves.

Furthering the too cheesy subject matter, the subplots and the over-use of stereotypical characters don't help to authenticate the already hard to believe situations that fill this film. And while this doesn't dive too deep into the real issues that matter, there's no denying that even the most naive simplifications still amount to an attentive audience.

Having distinct and established three-part acts, this film is nothing close to a deep subject matter and may feel out of place due to a way-too-familiar plotline that's "casually" set in space, but we need more of these playful romcoms that are lighthearted and all in good fun.

6/10

6.5/10

Marry Me:

Storyline:
Music superstar Kat Valdez is getting married before a global audience. But when Kat learns that her fiance has been unfaithful, she decides to marry a stranger in the crowd instead.

While I admit I was slightly excited for this film, as it looked so bad it might be good, I can attest that in fact, this was just bad. Setting itself up for disappointment from the casting of Jennifer Lopez, while I have said time and time again, acting is not her strong suit (despite her only accomplishment, Hustlers), this is no different.

However, the premise of this film had potential, from a too good to be true romance and the quite heavy feeling of embodying J.Lo's tough persona she puts on for the public, Marry Me sadly runs out of substance 30 minutes in.

Throwing in too many original songs as transitions, rather than these tracks expressively feeling like they personify living two lives - one fake, constantly in the spotlight, and the other a normal, personal life - instead, it feels like cheesy b-roll on the news. It simply becomes too hard to believe that this connection between individuals with a lack of chemistry is real.

Not to mention the completely irrelevant use of literally every actor included from Owen Wilson, Sarah Silverman, Chloe Coleman, and John Bradley, absolutely no one struck a nerve like they were intending.

Neither having the realistic factor of two opposite individuals falling for each other or the cliche of being a solid BAM! film, this tries to achieve the satisfaction of the film Long Shot but struggles in every single aspect. Nevertheless, this is still a quick little rom-com that serves its purpose of wasting time, yet could have been intriguing if it played its card correctly.

4/10

5/10

I Want You Back:

Storyline:
Newly dumped thirty-somethings Peter and Emma team up to sabotage their exes' new relationships and win them back for good.

Whether it's the low expectations I had going into this film, the precise delivery of a steady rom-com, or a bit of both, I Want You Back exceptionally acts on an idea that is not usually executed as successfully.

Casting an immaculate group of well-balanced individuals, the characters are beyond compare within the genre. From sensible interactions to reasonable and rational growth, this sets up an even playing field for the integrity of everyone to show.

Not to mention a stellar presentation of details, this effortlessly progresses within each monumental moment in any given character's life with grace. Building relationships and watching interconnections form, there is something for everyone to relate to.

Not to mention a killer soundtrack that embodies the vibe of this screenplay, this presents all the right pictures, creates a wholesome feeling, and has circulating themes that connect across the board.

Simply put, a great cast can set in motion varies of emotion, but with the help of quick, dry, and offbeat humor, the few and far in-between details that would once get lost in translation, don't. Having more heart than it seems and more appreciable humor than it leads on, this is a rare, balanced, and fresh rom-com that needs to be seen by all.

8/10

Leap Year:

Storyline:
Anna plans to travel to Ireland to propose to her boyfriend Jeremy on February 29, leap day based on an Irish tale.

Cheaply made romcoms are without doubt a guilty pleasure/hobby of mine to watch, as they are for many. While this is not the worst out there, it's wavering on the line. Based on a terrible concept, painful interactions, and a lagging progression, it’s easy to hate on this film.

Although depicting all of the usual plot points to please any fan of the genre - enemies to lovers, happy ending, tasteless dialogue - the lack of connection between the characters and the audience is what this struggles with.

Never feeling a spark or an ounce of chemistry, it's hard to react in any sort of way when there is not a fun banter and/or a bond to witness. Neither getting on an in the moment playing field nor an outsiders perspective, the cringy dialogue paves the way for an uncomfortable watch rather than a sentimental one.

Trying to find a positive within the negatives, it's pretty hard not to bash this production. The immense amount of words that describe the lack of spice, pizzaz, variation, and so on truly lie in the fact that no one really cared to look further into this why Leap Year was being made.

3/10

When in Rome:

Storyline:
Beth is a young and unlucky in love. On a trip to Rome, she impulsively steals some coins from a reputed fountain of love and pays the price.

When foreseeable events are paired with cheesy interactions they usually amount to a poor production or a great BAM! film. Although it is all in the eye of the beholder, When in Rome is more bad than good, but is without a doubt diverting.

Given I am a firm believer in the fact that overwhelming the audience with A-list stars in films swamps productions instead of lifting them up, for what it's worth, this screenplay wasn't meant for anything expressive, so it's not like it really matters. Though it is all relative, this at least stays in its lane as far as not going above and beyond.

That said, lighthearted and all, this has a drive that is going nowhere. Being unable to connect with the viewers based on a run-around of a theme, this constantly circles around the sole point that would hold something of value. Thus developing a protagonist with morals and values that are not affecting and a resolution that is unsatisfying. While enjoyable in the moment, there is not one aspect that is specifically memorable.

4/10

5.5/10

Monster-in-Law:

Storyline:
Charlotte meets the perfect man, Kevin. Unfortunately, his merciless mother will do anything to destroy their relationship.

I've said it many times, but I will continue to say it: Jennifer Lopez is not an actress. Every product she makes is uncomfortable, poorly acted, and the same character over and over again, all resulting in a faulty, predictable product. Although I like her enough to hope that each film she makes could be better than the last, plain and simple, her skills lie elsewhere.

The thing that is the most upsetting, though, is not the performances, no matter how appalling they may be, but rather the fact that Monster-in-Law was made. Having the premise of the storyline hold nothing of value, there is no incentive to watch it. By neither leading with a strong concept nor providing a satisfying, cheesy, and heartwarming turn-around (which is really the only reason we watch these types of stories) what's the catch? To which the answer is nothing further than there is none.

While I love bad romcoms just as much as the other fans of the genre, there is a line between a good bad BAM! film and just a bad movie, to which it's clear this is not ranked high in the slightest. Having said that, there are some moments that get a genuine laugh on top of just passing the time. However, the majority is awkward interactions, stiff dialogue, and the audience fighting to get to the end rather than having a diverting watch.

3/10

Laws of Attraction:

Storyline:
Rival divorce lawyers who are complete opposites are hired to represent opposing sides of a celebrity divorce case.

The irony within Laws of Attraction is the fact that there is no attraction, chemistry, or feeling of any romantic connection between Pierce Brosnan and Julianne Moore. Therefore, basing an entire screenplay on two A-list celebrities that are on opposite wavelengths, it's pretty predictable as to how this turned out.

Despite the absence of the sole concept that this film is based off, the premise of this plot had the potential to grow. Though the telling of these details gets lost in translation, the effort of trying to do the whole shebang - being wholesome, foreshadowing events, and staying true to its roots - is apparent.

Be that as it may, while the attempt was clear, there's no excuse for the lack of development. This is both its demise and its victory, as its simple-mindedness makes for a breezy watch, yet it plays off more like a dumbed-down product rather than a meaning-to-be lighthearted image. While sometimes judging a film on its cover plays to be true, this film is not worth anyone's time, even if you do like cheesy romances or the essence of Brosnan - to which both are extremely underwhelming.

3/10

The Hating Game:

Storyline:
Lucy embarks on a ruthless game of one-upmanship against her cold and efficient work nemesis, but her rivalry is complicated by her growing attraction to him.

The premise of this film had potential, yet the oversimplification of Hollywood romcoms and their poor implementation of predictable plots make something that could be entertaining, just simply not be.

The problem with this film, specifically, is the fact that there is no portion of either the nitty-gritty or the blush-worthy moments. Brushing past the capable interactions with potential and honing in on the most irrelevant ones, the potential doesn't align with the product.

Though the leads may look the part, they sure don't embody it. Feeling as monotonous as a wall, the lines that were delivered were with not an ounce of inflection. Truthfully feeling as if it was the first time any person had read their lines, it baffles me how this was able to be produced - yet then again, it doesn't at all, as it seems all that is made in the genre now values the number of films over the quality of what they're filled with.

From the stiff dialogue that is advertised as clever banter to an overall uncomfortable connection among the cast, The Hating Game's only small honor comes as a few - and I mean few - cute one-liners. Otherwise, this film is quite a dud.

3/10

West Side Story:

Storyline:
The story of forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds.

If you like musicals, the original West Side Story, or mindless romances, this will surely please. If you're a little more critical toward rational thought, overdoing an excessive runtime, or knowing when enough is enough, the contrary may have a few more issues than praises.

The choreography and cinematography are undeniably outstanding, as anyone objectively can offer. However, this looked the part more so than having the audience feel the conflicts. Distinctly putting the effort it takes to provide a seamless picture, like specific wardrobe, detailed movements, and the application from everyone involved, no matter how pretty looks can be, they aren't everything.

Given this is an established story, this revamps its motives to take a modern twist on its mindset and theme. That said, what was in much need of a rationalized and less suffocating relationship was what was showcased between Tony and Maria. While it's understandable their actions put in motion the rest of the story, the film itself focused too harshly on a skyline love that was based on nothing with grit.

West Side Story is full of life, culture, beautiful choreography, and a talented cast, and deserves its recognition for such. What is too quickly looked past is a toxic-centered relationship, conflicts diminished and left in the dust, and a film that just didn't really feel like it had a purpose or differentiating from its predecessor. In turn, this is noticed for its cinematic elements, but its lengthy screen time, unfulfilling connections, and a plot that isn't up with the times/today’s standards, this was once an unbothered film that did not need to be re-done.

7/10

5/10

Already Tomorrow in Hong Kong:

Storyline:
A budding attraction develops between a U.S. expatriate and a Chinese-American woman who's visiting Hong Kong for a business trip.

Though stumbling upon this film by pure accident, Already Tomorrow in Hong Kong is a B-movie that is quite unknown, underappreciated, and shows the beauty of a real interaction among strangers.

Judging by its cover, it doesn't look to be eye-catching and/or the most professional adaption to date. Yet the known and hectic disorganization within this story arguably amounts to the imperfections that make this just that more intriguing. While I am not referring to the lack of detail, shaky descriptions of their past, or the too-good-to-be-true coincidences (which are turned a blind eye to.)

Rather, these imperfections apply to the hesitation between characters, the unnerving, awkward dialogue, and real-life chemistry that is natural and lifelike. Depicting how easy it is to find the right person at the wrong time, this representation is detailed, unique, and simply real.

However, my utter recommendation toward this film does not rely on specific aspects, but the change of pace that the little things can precisely lead you to. No matter the initial reaction to the final moment on screen, to which will take time to appreciate the ambiguity, this is neither a version of cinematic nor perfect - but, it does what many in the genre lose their touch on - having the audience feel every bit of the connection between two people.

7/10

7.5/10

The Big Wedding:

Storyline:
A long-divorced couple fakes being married as their family unites for a wedding.

The Big Wedding uses stereotypical situations filled with seasoned, predictable characters and acts like it's nothing you've seen before. In reality, though, it is so painfully foreseeable and poorly portrayed, it hurts to watch.

With an immensely star-studded cast, this shouldn't be as bad as it was, simply by the subconscious entertainment value its cast gives off. Yet, even so, the lack of effort delivering lines goes further than a cliched story jam-packed with poor characters, that's solely on the "talent" included. This needed to show the cast was having fun, provide some quotable moments, or be less guessable to make everything else that was going wrong function.

Despite being exactly as bad as it looks, what gets me is that this film is truthfully unfunny and doesn't have any distinction to fix it. While it is clear it is riding the wave of the name of its stars to be seen, that set aside, this is just unplanned. Transferring the feeling that no one inside the story knew what was going to happen next (and not in an edge-of-your-seat-worthy type of way) but in an accidental and unintended type of way.

By no means is this film recommendable, as there are better products both critically or for entertainment value, especially ones that are less of an overall shaggy product using famous people to get a watch.

2/10

Never Been Kissed:

Storyline:
Josie Geller, a baby-faced junior copywriter, must pose as a high school student to research contemporary teenage culture.

I am the first to admit that I am a sucker for poorly made romances, unfortunately, normally the ones that are more bad than good. Never Been Kissed, conversely had the potential to be deemed as such, but lost its touch on holding the audience's attention from the first moment on screen.

If this concept was implemented with better performances and a stronger script, it wouldn't have been as uncomfortable. Yet, the hard fact is that this didn't even feel like it tried to portray any emotion through its characters or story, which especially in romcoms, needs at least one or the other.

However, in good BAM! romcoms, there needs to be a balance of romance and comedy, along with the well-portrayed and awkward moments. Yet, this isn't even cheesy, cliche, or stereotypical, it is simply unprepared.

While there was no connection between the audience and characters, it comes as no surprise the "big" turnaround was unsatisfying. Making for the finale to be anti-climactic, this had the potential to be endearing and wholesome, but instead was a treacherous watch filled with second-hand embarrassment.

3/10

Sleeping With Other People:

Storyline:
A good-natured womanizer and a serial cheater form a platonic relationship that helps reform them in ways, while a mutual attraction sets in.

Having nothing stand out and clashing aspects, Sleeping With Other People is just not as goofy as it thinks it is and not nearly as expressive as it could have been. This, in turn, makes for a combination of two half-done themes that both leave an unfulfilling feeling. While this is likable within the genre, it only adds to the list of films that are popular for those who are in it and get a watch but don't fully deserve it.

Without the unspoken essence of Jason Sudeikis, this screenplay wouldn't click. Creating an unmatched vibe with his carefree presentation and drawing commitment, without it, this would fall further into the pit of every other rom-com. Having a way about the bond between characters, there is an awkward (in a good way) adoration among these real people, which is what this gets right.

However, while this has its offbeat scenes and sparing touching, memorable moments, this needed to figure out its goals to be anything grounded. Feeling out too many vibes and not solidifying any of them, even with its quite comedic storytelling and suspenseful chemistry, there is an indisputable void of needing more.

6/10

Cinderella:

Storytelling:
When her father unexpectedly dies, young Ella finds herself at the mercy of her cruel stepmother and her scheming stepsisters.

Given that this character is already wearing its name out by the constant average adaptions, this version of Cinderella, unfortunately, cannot find its ground to be anything special either.

While this has an impressive star-studded cast, they feel more to look the part rather than earning it. Having attractive leads and supporting characters create the tone of an appealing and lavish lifestyle, but the performances do not align. Shortcoming within chemistry between relationships, there is no one or thing for the audience to grasp onto or connect with.

Not to mention skimping out on the details, backstory, and relevance, this overaccentuates its new and improved additions rather than focusing on what is truly important - the protagonist, her love story, and an independent theme.

Discouraging the importance of the finale because it finished off a plot that was nothing but mediocre, this is just another family film that was made by Disney for a paycheck rather than a well-made story.

4/10

5/10

Love Hard:

Storyline:
An LA girl falls for an East Coast guy on a dating app and decides to surprise him for the holidays, only to discover that she's been catfished.

Although the final product does not do justice to the quite intriguing concept of this story, Love Hard itself may be a waste of time, but the premise isn't.

Without the stereotypical and unconventionally attractive love interest, this wouldn’t have a heartbeat. Pairing together a cast that Hollywood normally strays away from, the two opposites and cliche of companionship keep this afloat. To which without this juxtaposition, this would not draw the same accepting conclusion.

With an ending monologue that’s true to many of this generation, this has its moments. Being overshadowed by the heavily forced Netflix formula, though, it doesn’t work. If this had the feeling of a Hallmark film, with the self-awareness of what they're doing, it would have clicked. However, by having a sense of seriousness along with the visibly cheap writing/storytelling, this loses its heart in the act of telling it.

3/10

4/10

Little Italy:

Storyline:
A young couple must navigate a blossoming romance, amidst a war between their families competing pizza restaurants.

While there is nothing to say to change the overused stereotypes, underdeveloped story, and severe plot holes within this film, Little Italy may be the perfect amount of cringy Hallmark aspects and a well-delivered comedic script to provide a good bad film.

The cast, without doubt, was in a jam finding the balance between realistic chemistry and a cheaply forced connection. From uneven portrayal within characters and a messy association to link everyone, the collective vibe is too dictated to create a progression.

That being said, without an admirable script, this would be unwatchable. With absolutely impeccable comedic timing, this dry, sarcastic and self-aware writing makes for the cliche moments to become more wholesome than overpowering.

Despite the simple fact there is more bad than good, I equally hated and liked this. Becoming quite ashamed that this brought as much enjoyment as it did, this delivers an undemanding, satisfying turn of events no matter how embarrassed one may feel having a soft spot for.

3/10

6.5/10

Something Borrowed:

Storyline:
Friendships are tested and secrets come to the surface when terminally single Rachel falls for Dex, her best friend's fiancé.

While predictable romances are made to be unrealistic, even keeping that in mind can't save this deeply rooted degrading theme. Something Borrowed centers an entire story around selfish characters and ignominious relationships, which, to no surprise, develops a concept that is as far from self-respect as one can get. Not to mention, the sole person deserving happiness is left with their story as nothing further than an underdeveloped subplot.

Given the few, and I mean few, moments that get a laugh from the audience or are intriguing at the second, they're delivered from distant portrayals and a forced tone. Thoroughly becoming misplaced within the hodgepodge of unconditional ingredients, you can't root for anyone or anything as it's quite incomprehensible when even from a hopeless romantic perspective you can't find a way to enjoy it.

Among everything, the most prominent and overlooked concern is the undermining of such a lowering concept. Despite the notion to highlight the difference between the self-sacrificing and selfish personalities, though utterly destructive, the message is hazy. Demonstrating all the wrong qualities that lead these broken personas to "happiness" reveals the lessons that no one should follow. Calling it what it is, this film discredits its happy ending by filling the journey with a protagonist who has all the wrong morals.

1/10

Flipped:

Storyline:
Two eighth-graders start to have feelings for each other despite being total opposites.

While Flipped is, without doubt, non-recommendable, painfully predictable, and mostly unsuccessfully acted, it was made this way on purpose. Intentionally having this be as informal as possible, the idea, though poorly executed, was for this to be as lifelike as can be.

Given child actors, as I have said before, can make or break a screenplay, though the performances were nothing special, there is not much anyone can do with a cheap script. Becoming more uncomfortable than anything, while the delicacy of awkwardness can sometimes be influential, this was not deliberate.

Not to mention the surplus of plot holes, although the narrating was just about the only consistent piece of this film, no feeling or thought carried through to prove relevant to the next.

Surprisingly holding your attention till the end, this is by no means satisfying. While the die-hard hopeless romantics will surely find their way to be entertained by this, this film is routine, lifeless, and unimpressive.

4/10

5/10

Letters to Juliet:

Storyline:
Sophie dreams of becoming a writer and travels to Verona, Italy where she meets the "Secretaries of Juliet".

If there is any film that perfectly embodies the feeling of being embarrassed to enjoy such a poorly developed execution of the stereotypical romance, it would be Letters to Juliet. Though nothing particularly pinpoints this feeling, it rather develops throughout its cringy-natured, but satisfying vibe.

To preface, this is a sentimental and quite rewatchable romance from my childhood. Though this is friendly for all ages, it can be equally worthwhile for everyone alike. Pleasing the hopeless romantics and keeping the audience engaged, each character has unchallenging chemistry. Painlessly carrying from one scene to the next, the essence this provides is simple and wholesome.

However, with all lighthearted, easygoing romances come the lack of development, thin writing, and mostly lost opportunities in character arcs. While this unfortunately has all of the above, it doesn't take away from the focus at hand. Though the ending hits the spot for lovers of the genre, the lack of a thought-provoking concept or a truthfully endearing message takes this to a level of enjoyment in the moment but not becoming as memorable as it could have been.

5/10

6/10

Life as We Know It:

Storyline:
Two single adults become caregivers to an orphaned girl when their mutual best friends die in an accident.

Set with the usual premise for films of this nature, Life as We Know It becomes more predictable throughout its run time but rather indulges in the feeling of hating to love a critically bad film.

Given the chemistry is as fake as one can get, this isn't a total train wreck due to a fitting cast. With everyone adjusting into their roles accordingly, the performances across the board are nothing award-winning but likewise nothing to be ashamed of. Carrying out an effective tone throughout, no one or thing goes above or beyond; instead, they act upon the common mindset of providing the quick feeling every staple rom-com delivers.

Without a doubt set out and executed solely for entertainment purposes, this will always be an easygoing and feel-good film. Having its classic critical issues that anyone can find a point to notice, this thrives purely on running with the concepts that sell. For lovers of the genre, this is the perfect product to fill the void for the hopeless romantics or just an uncomplicated watch.

3/10

6.5/10

He's All That:

Storyline:
A teenage girl sets out to give a nebbish classmate the ultimate high school makeover. An updated remake of the 1999 film, 'She's All That'.

Despite the obvious but needed to be mentioned fact that Addison Rae did not earn her spot within this film by her outrageously fake performance, the entire production is a joke of a motion picture.

Implementing a horrifically cheap screenplay, it's quite questionable how this got produced. Developing an artificial script with overly unrealistic circumstances, while it's clear this was going to be nothing but a money grab, every aspect is utterly worthless.

Within the incoherent plot, while there is no surprise nothing makes sense and there's an ungodly amount of plot holes, there is no room for this to be enjoyable. Delivering too many scenes that give off secondhand embarrassment by the unpleasantly cringy on-screen chemistry, this is painfully awkward and hard to get through.

Not to mention the apparent product placement, laughable random dance number, inaccurate teen representations, and absolutely no care for an articulate purpose, He's All That is simply one of the worst films I have ever seen.

1/10

Silver Linings Playbook:

Storyline:
Former teacher Pat Solitano moves back in with his parents after time in a mental institution. He then meets Tiffany, a mysterious girl with problems of her own.

Delivering upon an unwavering authentic representation of the nitty-gritty truths of mental illness and relationships, Silver Linings Playbook gives its all in every aspect. With a genuine message and candid moments

YOUR CART

ROMANCE & ROMANTIC COMEDIES

Look Both Ways:

Purple Hearts:

Moonshot:

Marry Me:

I Want You Back:

Leap Year:

When in Rome:

Monster-in-Law:

Laws of Attraction:

The Hating Game:

West Side Story:

Already Tomorrow in Hong Kong:

The Big Wedding:

Never Been Kissed:

Sleeping With Other People:

Cinderella:

Love Hard:

Little Italy:

Something Borrowed:

Flipped:

Letters to Juliet:

Life as We Know It:

He's All That:

Silver Linings Playbook: