My first thought coming out of I Love You, Man was premature disgust with the motion picture Academy for snubbing Paul Rudd in next year’s nominations. There’s no doubt in my mind he won’t even be considered a long shot for any acting awards, just as there’s no doubt in my mind that he deserves a boatload of them.
Rudd appears in just about every scene of I Love You, Man and his hilariously awkward charm takes the film to another level. He delivers a fabulous comedic performance that relies not on jokes (though there are plenty) but on the humor of personality. His painful inability to leave a room or a phone conversation without a cringe-inducing stab at dude etiquette are both high comedy and an insight into his character’s winning mix of sincerity and insecurity.
Part spy caper, part romantic comedy, Duplicity is one of the smartest and most satisfying movies I’ve seen in a long time. Sure, it’s rather lightweight, but I really can’t find a thing wrong with this film. Writer/director Tony Gilroy, who penned the Bourne trilogy and helmed the acclaimed Michael Clayton, has emerged as one of the brightest new talents in Hollywood today.
Here’s a movie so feathery light I almost don’t want to bother reviewing it. It’s cut from the same cloth as a thousand romantic comedies before it — chick lit made celluloid (literally, as the film is based on a popular book series).
Meet Me In Montauk 