Chris O’Donnell’s painful romantic comedy, in which he has less than 24 hours to wed his longtime girlfriend (Renee Zellweger) or anyone else he can find if he wants to receive a $100 million inheritance, would be merely insipid if it weren’t for the ugly attitude toward women that runs throughout the film. As O’Donnell

This often plays like what Bridget Jones’s Diary, the 2001 adaptation of Helen Fielding’s novel, threatened to be: a cartoonish, dumbed-down version of a book that was ruthlessly honest. Yet it still charms thanks to the return of Renee Zellweger, who manages to exude both grace and gravity while baring a self-doubting woman’s body and

The makers of this by-the-numbers romantic comedy are so bored with crunching these familiar numbers that they come up with all sorts of throwaway scenes just to divert themselves from the task at hand. But that task – getting Matthew McConaughey and Sarah Jessica Parker together – is still there. He plays a 35-year-old who

Following the age-old rule that you’re allowed to deal in stereotypes as long as you’re stereotyping your own kind, this independent release follows a Greek-American woman (Nia Vardalos, also the screenwriter) who escapes from the clutches of her traditional, overbearing family into the arms of a handsome – and non-Greek – stranger (John Corbett). The

Comedy largely exists to soften life’s uncomfortable truths, but The Baxter rings a bit too true for its own good. Writer/director/star Michael Showalter means to make a romantic comedy from the point of view of the other man – you know, the perfectly pleasant, perfectly dorky guy who gets left at the altar when the

The Philadelphia Story features one of the definitive Katharine Hepburn performances, largely because it so closely aligns with the public’s perception of her at the time. She plays smart but snooty socialite Tracy Lord, whose plan to marry an up-by-his-bootstraps businessman comes undone with the unexpected arrival of her ex-husband (Cary Grant). By 1940, Hepburn

One of the least cynical movies from director Billy Wilder (Double Indemnity, The Seven Year Itch), Sabrina would be a fairly forgettable romantic comedy if not for its stellar cast: William Holden and Humphrey Bogart as ridiculously rich brothers and Audrey Hepburn as the chauffeur’s daughter they both romance. Hepburn’s performance in the title role

This smart adaptation of Helen Fielding’s 1996 novel is a romantic comedy in search of contentment rather than Prince Charming, which gives it a sense of realism that both aches and inspires. As the title heroine – a single British woman whose life is a cycle of highs and lows, most of which have to