It's no secret to long-time readers of my site that I'm a big fan of the horror genre (if done well that is.) I wasn't completely sure what I was getting myself into when I decided on the spur of the moment to get a ticket to this movie. Since it was premiering in the drama category as opposed to the special horror section, the water was muddied in trying to classify what The Witch was. Would this end up being a historical horror film like I secretly hoped? Or was it merely a psychological period piece drama? On the one hand, a name like The Witch had to promise a scare right? The promo photos and the setting of puritanical New England had me very encouraged. But other than that there wasn't much for me to go off of. So what exactly was it? Well, your mileage may vary, but personally, I consider anything with [SPOILER] possessions, infant sacrifices or communications with Satan [/END SPOILER] to be firmly rooted in the horror genre. So let's get one thing straight. This movie is MESSED. There were more "what the? why... howwww.. um... OH THE HUMANITY" moments than I can count (and sadly I was by myself so I couldn't share such wonderful moments with the ones I love...instead I settled for a really funny old couple next to me.) This movie was... well evil. In that horror genre way where I kind of love it but it freaks me out at the same time. It gave me everything I hoped for in utilizing its setting (after all I'm always lamenting that there aren't more Salem witch trial-focused movies..) and yet managed to completely surprise me in how far it was willing to take its themes. That's not to say all of the risks worked. Two instances, in particular, that were meant to be huge gasp moments I found to be kind of humorously amusing. One involves a bird and the other involves a random shapeshift. The first one especially is never fully explained either.. but I guess we can come up with our own conclusions. To me, neither moment builds up to as much as was hoped... but there are plenty of other scenes to make up for that. And what makes the really effective scenes work is no doubt the suffocatingly freaky music. Even in the beginning when the action hasn't happened yet that score is ever-present and just makes you feel unsettled. That feeling basically never lets up. There are no big name stars in The Witch, but the story draws you in so much that you easily forget about that. It doesn't hurt that everyone gives pretty good performances too. Also, I'm not sure if this is to the film's strength of detriment...but it features two of the most annoying children characters I can even recall. Tonally this is a very moody film from the cinematography, performances, the general look, and that spooky score. Whether or not you find this movie to actually be scary depends on your horror genre tastes. There's not exactly torture porn in this film or anything... but it has its own messed up stuff. One thing is for sure: this film is gonna be a must for Halloween viewing. RATING: 9/10

This is the first of two reviews of films I saw at the Sundance Festival Tuesday (look for my review on The Witch sometime tomorrow hopefully.) Brooklyn follows the story of an Irish immigrant named Eilis who leaves her family and her country in the 1950s in hopes of making a living for herself. From the promo pictures released of this film you'd be led to believe that Domhnall Gleeson (the lovable lad from About Time, Frank, and The Force Awakens) and Saoirse Ronan (Atonement, The Grand Budapest Hotel, Hanna and that awful Host movie) share equal screen time and it's "their story." This set of expectations was thrown for a loop when it turned out to really and purely be Saoirse's movie and [SPOILER] Domhnall doesn't even really appear until the last 40 minutes or so... he is actually relegated to being the disposable love interest. sniff. [/END SPOILERS] Saoirse is a lovely actress and gives the role her all. However... I just always found myself liking every side character more than her. As much as Ronan does most of the heavy lifting, she has quite the supporting cast to fall back on... and they're what makes the movie for me. Besides the cast though, what really drew me to this film was the fact that the screenplay had been written by Nick Hornby (though based on a novel by Colm Toibin.) I consider About A Boy to be a witty marvelous gem of a film... and I'm also fond of An Education as well. Brooklyn is not an About A Boy for me because I just don't love the main character. But it does share quite a lot of similarities to An Education. Like that film, it's a bright and beautiful mid-century period piece that's certainly fun to gawk at. I definitely heard a few collective "Ooohs" over some of the shots of New York. Both lead characters also happen to be young women who make some questionable choices with regard to their love lives that make the more experienced viewer cringe. Unlike some Hornby-written films though, I'm not sure I'm given as much insight into some of the characters' choices. I mean on a surface level I can understand some of the choices she makes, but without verbalizing her inner thoughts a lot of her actions toward the end of the movie feel out of character. This makes parts of the ending feel unearned (though the moments that are earned are very beautiful.) Essentially for me, Brooklyn is a good film that was tempered by my expectations (to be fair...when someone is second-billed you expect them to be the second biggest character.) I suppose though if I had the choice to give any particular character more screen time though it wouldn't be either of her love interests! Instead, I'd pick to have far more of the silly 8-year-old brother of her American suitor. As I said though, the story belongs to Saoirse's character and there's more to it than just a love triangle. I really enjoyed seeing her journey of learning how to survive so far away from her home...and how in fact she could create a new one. Brooklyn is a solid film that if nothing else...is incredibly beautiful to look at. RATING: 8/10

The Sundance film festival is in full swing and I finally have a review to show for it! Last night I went to a screening of Me, and Earl and the Dying Girl. There are some Sundance movies that I love immediately (The Way, Way Back, and Liberal Arts) and others I know I like an awful lot...but I need time to ponder just how much (God Help the Girl...which shortly after reflection I came to love dearly.) Me and Earl and the Dying Girl (which from here on out we will refer to simply as Dying Girl) fits into the latter category. I found a lot I absolutely admired, but like the main character of Dying Girl, I guess I have a hard time fully embracing something without the certainty of love? That's not to say I didn't like the film. The fact is, I really really liked it. I just don't know if I can say THE L-word (no not lesbians.) But as with the case of God Help the Girl, I am sure my affection will grow for this film with time and repeat viewings. Dying Girl follows the story of Greg Gaines, a high school boy with a desire to exist peacefully and somewhat invisibly, among the many cliques that surround him. If he can't identify himself as one particular type he can't be really be rejected; he's content to keep people at arm's length. His status quo is thrown a wrench when his mother forces him to befriend a neighbor girl named Rachel who has just been diagnosed with leukemia. The film acts as a chronicle of their friendship while also acquainting us more with Greg's issues. Also along the way, we learn of Greg and his "co-worker" Earl's fondness for filmmaking (akin to the protagonists of Son of Rambow and Be Kind Rewind.) The sequences that showcase their many collaborative efforts were undoubtedly the biggest crowd-pleasing moments of the night. But as much as I love film and appreciate those homages, for me it was the quieter moments that are sticking with me. The first half of the film is absolute fun as our narrator paints the portrait of his life and burgeoning friendship with Rachel... but it wouldn't really work without a main character we like as much as Greg. He's funny but flawed and his self-deprecating humor is endearing to all who see shades of ourselves in him. The other two characters represented in the title have much depth to them as well, with Earl being the less developed since the focus isn't really on him. All three though are given real moments to shine and make their characters become three-dimensional and they all succeed in their portrayals. The first half is kind of frantic, but when it slows down there's a quiet power in two scenes in particular. The framing of the shot shows both characters on screen, neither one looking at each other really... Just showing their reactions to the conversation they're having and the shot just lingers on and on. It happens twice and it was just beautiful. Though it may seem like a standard cancer movie, it is told any way but conventionally. I really liked the visual style... But after too much, it also gave me a headache. The camera is always moving and is almost a character itself. I normally love these kinda shots and it seemed as though it was done to make us all feel like we were in the story...but really the amount of it all just made me dizzy. This headache fog wasn't helped by the fact that the narration set me up with a set of expectations for how much plot there was left to go which made me constantly aware of the run-time. I appreciate its dramatic purpose and no I didn't have a problem with what happens... I just was constantly thinking in my brain about what was left to happen to meet the narration and at times, it overwhelmed me. These two things are what's keeping me from saying the L word just yet. Repeated viewings (and sitting further away to help reduce the headaches from the constant camera movements,) I'm confident will help. RATING: 9/10

Monday night I got to see one of the last screenings of the festival: The Best of Fest presentation of Whiplash. This film about an aspiring drummer competing for recognition at one of the finest musical conservatories (and his verbally abusive teacher who pushes him to the limit) has been one of most talked about films of the festival and when it won two of the biggest awards (namely the U.S. Dramatic Grand Jury Award and the Audience Award,) I was naturally aching to see it. Boy have I never heard a title so appropriate to a film. This movie will jerk you around and make you feel it long afterward. It's hard to explain all the feelings I have about this film, but it's important to make something clear right away: this film is unbelievably and emotionally intense; it is not for the faint of heart. Many times when I find myself reviewing a movie I speak about the film as a whole and don't get into the specifics of what the content of the film actually contains. Truth be told, I never know who my audience is and what their sensibilities are, so I usually let them do their own research about that. In this case, while I can separate specifically amazing things this particular film offers and speak for its merit as a whole, I also can't ignore things that might make some feel uncomfortable. That being? Some absolutely atrocious language. That may sound silly to some, but it wasn't just the words but the venom and intensity with which they were spoken. I definitely felt their intended effect and it wasn't a good feeling. I do understand the purpose of it. Clearly what they were going for was achieved and the screenplay will no doubt be embraced and adored...but let's just say this is not an easy, breezy film to watch. Though the harshness of the dialogue affected some feelings towards the film, there were many redeeming factors that are undeniable. After all, I never said this movie wasn't a great film. It most definitely is...and perhaps is even arguably a masterpiece. It has quite a lot going for it. The performances, direction, cinematography, editing, its compelling story, and music were all nothing short of miraculous. Both JK Simmons and Miles Teller give just as much to their roles as their characters do to their music. And it's kind of amazing to see the two go head to head with each other. Whiplash was certainly one of the most gripping, mesmerizing, and intense films I've seen in some time. Its climactic sequence is one of the most tense I've seen in a long time, and this is a film about music, not a horror or action piece! The character studies that take place in this film are absolutely fascinating. Whiplash is essential viewing and an incredible debut from Damien Chazelle. RATING: 9/10.

Before I begin my review I must make clear once again what colored my view on this particular film: sky-high expectations. Seeing this movie again knowing what it is will no doubt help me appreciate it for itself and not for what I wanted it to be. How does one get such high expectations for something they've never even seen a trailer for? Well, a couple of photos, plot synopses, a deep appreciation for the music of Belle & Sebastian, as well as some glowing reviews made me sure this movie would be an instant favorite; when in fact there were moments that I instantly adored...but the movie as a whole needs time to grow on me. I really liked the story going on here about a girl trying to cure her problems with the aid of music. Only two things really kept me from loving this movie: occasional lulls between the fantastic (and generally wishing the movie was a bit shorter and the pacing a bit quicker...) and the fact that though I knew the lead character had her own serious problems and deserved to be cut some slack...I still didn't particularly like her. That isn't a slant on the actress though as Emily Browning does a great job (we Emilys have to stick together!) I guess I wish some of the focus could have been spread more equally to her far more amiable bandmates (Cassie, in particular, could have used a bit more depth and screen time..and I have to say that Olly Alexander who played James was simply adorable.) These things aside, there really was quite a lot to love here. There was a lot of clever humor, wisdom, and truth, wonderfully sincere moments, and most importantly: great music! As would be expected of a hipster indie musical, a lot of the highlights revolve around the fantastic musical sequences. The choreography of these sequences was great and, in general, the production design as a whole really stood out. I really enjoyed this musical with its playful tone and it's definitely clear that this was a labor of love by Belle & Sebastian lead singer Stuart Murdoch...I just think if it had been a little bit tighter I would have ADORED it. Still, a great effort worth seeing that will no doubt grow on me. RATING: 7.5/10 with room to grow on a rewatch.

Some movies are an acquired taste. The Double fits that category and THEN SOME. For people that just can't get into surrealist/stylish films like Eternal Sunshine of the Spotless Mind, Moulin Rouge! or Amelie (which are all not perfect examples since they're way more mainstream than The Double...)then this movie is definitely not for you. Certainly, many people in my audience seemed to feel this way as quirky and absurd humor flew over their heads constantly and they didn't know what to make of the unexpected turns the film would throw at us. But the thing about an unusual flavor, though acquired it may be...if you try it with an open mind you may actually find it refreshing. Whether or not you like or even love that new flavor is another matter, but the fact that it doesn't taste just like everything else is a welcome change. Based on a Fyodor Dostoevsky novella, The Double has a very darkly classic...yet as I mentioned surrealist feel to it. Jesse Eisenberg gives a fantastic performance (or is it performances?) as both the insecure Simon who can never catch a break and the confidently suave James. Amazingly so, they're both the type of characters that he excels at and the audience is able to get a glimpse at the layers underneath these men. I'd say that it's Eisenberg that carries the movie, as I'm still not entirely convinced of Mia Wasikowska's talents. There's always something about her that seems somewhat underwhelming to me, but I suppose she fares well enough here. But besides Eisenberg's performance what does The Double have going for it? Well as I said, it's certainly stylish. And speaking of stylistic choices, I must warn you that the use of sound can at times assault your ears. I admired how it was used at times, but also wish in some moments it was toned down just a tad. I love the weird world that this film is set in....not quite modern and very bizarre. The computers look ancient and the television shows have that retro vision of the future type feel to them...yet somehow with other forms of technology, it seems pretty recent. Like many things in this film, it's useless trying to analyze or figure anything out. You kind of have to let it be and accept some of the mystery....some things won't make sense. This movie is hard to recommend to just anyone. I'm not sure myself if I would say I loved it...I found myself appreciating and liking how different it was. Again, if you're the type of person that can handle that or hate not being able to understand everything that's going on in a movie, then stay clear of The Double. However, if you're game in trying out this incredibly weird, artistic journey into the deep recesses of a man's soul, then by all means give it a try when it comes to a theater near you. EMILY RATING: 7.5/10

Well, it's over. The only thing that makes winter tolerable; (besides Christmas of course...) the Sundance Film Festival has come to an end. Every darn year it sneaks up on me before I have time to get advanced tickets, and almost always I miss out because of it (last year is the exception since there weren't as many movies I wanted to see as this year...and including the JGL hit record event I got to do everything I wanted to do.) Even though I pretty much say it every year, next year I REALLY am going to try to be more prepared haha. The overall experience was fun as usual. And once again I never saw one celebrity (since I'm not able to use the urinals I guess..). Oh unless you count THIS GUY who I saw walking along Main Street likely promoting a film called Newlyweeds. So while I posted reviews on the films I was able to see, here's a list of just a few that I missed that I hope to catch if/when they make their way to theaters. ACOD What does ACOD stand for? Adult Children of Divorce of course! (hey that rhymed..) Being someone who is a semi-expert on the subject I was instantly intrigued. Then add the fact that a pretty solid cast was involved including Adam Scott, Amy Poehler, Richard Jenkins Catherine O'Hara, and Mary Elizabeth Winstead, and this film instantly went on my must-see list. I'm not sure if this one has a distribution deal yet, but I would definitely love to see it. Austenland I'm really disappointed the stars never aligned so I could see this one. Unfortunately, due to some bad coordinating, as well as some really rabid Jane Austen fans in Salt Lake that arrived for waitlist way earlier than the rules state (but somehow no one seemed to care...), it was not meant to be. Fortunately, this one was picked up by Sony Classics and is said to be looking for a summer release. I'm very excited. I love Keri Russell, I love Jane Austen and I love the premise of a Jane Austen role-playing theme park, but.........I do have trouble taking Bret McKenzie seriously as a romantic lead. I just can't help but picture him in an office with Jemaine and Murray during another "band meeting." Also, I'm interested in seeing Jerusha Hess' directing debut. I have mixed feelings so far about her and her husband's work...but I'd like for her to be a success. Breathe In Director Drake Doremus and leading lady Felicity Jones reteam for their second effort after their last collaboration Like Crazy. I recently watched that film again and enjoyed it much better after my colossal expectations were finally held in check. This film's cast seems a bit more rounded out with Guy Pierce and Amy Ryan. Here Felicity Jones plays a foreign exchange student who changes the life of the family she stays with. Its a simple enough plot that could go either way in the wrong hands, but the reviews all suggest this film was even better than Like Crazy. I haven't heard anything yet about any company picking it up though. Hell Baby The horror-comedy truly is one of my favorite genres out there. From what I have gathered, this film seems to take on a Cabin in the Woods approach at both satirizing and paying tribute to the genre. Apparently, both Rosemary's baby, haunted houses, and more are covered in this film. Oh, and did I mention it has Rob Corddry and Thomas Lennon in it? Sure to be hilarious. Again though, not sure if anyone picked it up, so hopefully, we can all see it one day. I'd love to put it on my Halloween view list. In a World... I must say, I love the premise of this film. One of my favorite aspects of The Holiday (besides Jude Law's hotness of course..) is Cameron Diaz's awesome job as a movie trailer editor. So what better idea to make a whole movie devoted to the art of movie trailer NARRATING? With that premise in mind, you have to admit that the title of the film is pretty much ingenious. The reviews of this film both by critics and general festival-goers have all been very positive saying it doubles as a light and fun romantic comedy, as well as a female empowerment tale. I really hope I'll be seeing this one. The Spectacular Now This might be the film I'm most disappointed to have missed (and believe me I sure tried to get in.) The film is based on a novel by Tim Tharp but adapted by the writers of a film you may or may not be sick of me mentioning on this blog...(500) Days of Summer. That fact alone is really all I needed, but the reviews I read all pretty much gushed about this film and especially the performances of its young leads: Miles Teller (of Rabbit Hole)and Shailene Woodley (of The Descendants). Thankfully though, some brand new company I've never heard of picked it up called A24 picked it up and plans to distribute it this summer. The two films I DID see got picked up for distribution as well. Sony Pictures acquired Before Midnight and Fox Searchlight paid a hefty (and hopefully worthwhile,) price for The Way, Way Back. Fox and The Way, Way Back are a perfect match though, so I'm very excited about that....hopefully it will be out in summer since it's a perfect summer film and everyone can enjoy it as much as I did. But anyway, that's about it! I am very much looking forward to the fest next year, and hopefully, I can remember for once in my life to sign up for an advanced time slot so that I can have much more goodies to post than just two reviews and a wrap-up. But until then...so long Sundance, we'll see you next year!

Time for another Sundance film review! Hopefully, this isn't the last one of the fest...but this is the last one I had guaranteed tickets for since the festival always sneaks up on me. However, I am hoping to get into a few other films via standby in the next couple of days...so we will see if I have any luck with that. But if I don't end up seeing Austenland, In A World..., A.C.O.D., or The Spectacular Now, I will at least have ended on a high with The Way, Way Back. First off. Can I just say how much I utterly love Jim Rash? Not only does this guy just crack me up with everything he does, but more and more with each project, he proves just how talented he is. Okay I'm sure his writing partner and co-director Nat Faxon is just as talented... but he doesn't happen to portray Dean Pelton from Community...nor did he have the hilarious uncontrollable urge to mock Angelina Jolie at last year's academy awards that made me love him even more. So what can I say? I'm biased. But he and Faxon, as with their first screenplay The Descendants, made me laugh throughout the whole movie with ease because of their witty and memorable script...but unlike The Descendants, in this film, both men turned in supporting roles as well that also helped the film's cause. Seriously...Jim Rash was a hoot, even just for his physical appearance alone. Jim Rash appreciation rant over. I absolutely loved The Descendants, which is why I really wanted to see this one as well. I definitely could see a lot of similarities between the two films, but ultimately The Way, Way Back isn't as weighty...it feels more breezy and less ponderous. Not that that's a bad thing. I'd say it's more of a feel-good film than a thinker film...BUT it made me feel REALLY good. But I mean, truth be told, I do think it's a bit of both...and I think much of that is due to the fabulous cast and the small nuances they brought to their performances. It's refreshing to see Steve Carrell play someone other than Michael Scott or the variation of Dan in Real Life we've been seeing too much lately (ie Crazy Stupid Love and Seeking A Friend For the End of the World,)... even if he does play a huge jerk. Carell does a great job here playing against his norm, as does Toni Collette, who too is playing a role more unlikeable than usual (yet somehow she still remains amiable enough to feel sorry for.) But the film definitely wouldn't work without the talents of its young star Liam James and Sam Rockwell. The rapport between the two is what keeps the film interesting and fresh. Rockwell in particular really leaves a lasting impression. He was humorous, but he had a lot of heart that really defined the film. This summer coming-of-age story isn't particularly new or groundbreaking, but it is well made by everyone involved... and sometimes that is all it takes. I have to say it is probably one of my favorite indies to come along in awhile. Also, did I mention it is hilarious? The whole theater clearly felt the same way because the laughter was almost non-stop throughout. I loved this movie. It made me long for summer, where I hope that in addition to fabulous weather, this film can get a wide release and be seen by as many people as possible. RATING: 9/10

When I heard that a sequel was being made to Before Sunrise and Before Sunset, I was absolutely thrilled. Then when I heard it would be premiering at Sundance, I decided I would do everything in my power to see the third installment. Like any other cinema lover invested in this great love story, I couldn't wait to find out what happened after the events of Before Sunset. So many questions left unanswered, so much potential, and most importantly: characters that I longed to see again. As always though with this story, what I got wasn't really what I was expecting at all. Well....actually I kind of expected it since a few too many reviews I read shared too many details. I'll try to refrain from getting into specifics, but this film can't really be reviewed without saying that their relationship has drastically changed from the last two films as a consequence of the choices made in the previous two and the years in between. Before Midnight shares many similarities to its two predecessors, but definitely feels the most different of the three. This is largely due to where the characters are at now in their lives and what has transpired between them. No longer are their conversations as endlessly fascinating as they were in Sunrise and even Sunset, oftentimes they can be mundane (or worse; bickering and explosive.) Their encounter this time isn't romanticized like the previous two, this time it's lived in and very strained. The characters have become more real with each outing as we see how life has hardened them. It really is an amazing feat for a filmmaker to be able to successfully revisit these characters, but it isn't always the easiest to watch how they've changed...especially when Celine is always itching for a fight. I love how Before Sunset didn't necessarily try to duplicate the plot of Before Sunrise. It was more of an examination of how that night in the original, had affected these characters. In Before Midnight, too, the formula may be the same (of the one-on-one walk and talk,) but the themes and general tone are so much different. This time, again we explore the consequences of a choice, but like Jesse warned in both previous installments, if things in their relationship ever changed from what they were in the past, their relationship might not be so idealized as they once thought. This almost seems to be the entire theme of Before Midnight, as this fear of young Jesse seems to have come to fruition. The real question becomes how do you still try to sustain a relationship like that and still try to make it work? Like its predecessors, Before Midnight offered plenty of food for thought. However, it didn't feel as effortless as the others in sucking me in right from the start. To be honest, I kind of had a hard time getting into it when other people besides Celine or Jesse were chipping into the conversations (luckily the whole movie wasn't like this, but a good portion was.) To me, these films have always been about a conversation between just two people, so I didn't have much interest in what anyone else had to say. The real magic happens when these two are just with each other, and even though both of their personalities have changed quite a bit (okay Celine far more than Jesse) they've still got it...and you can't help but root or these two to be together. There were definitely some things I could have done without, as this was the most adult and grittiest film in the series....but it was also thankfully the funniest. It was a treat to see these characters again, and while it may not be my favorite in the series (probably because I personally relate less to what they are going through this time around since I haven't reached that stage in my life...) I'd be glad to spend time with Jesse and Celine any day. RATING: 8.5/10

Sometimes your impression towards a film really depends on who you see it with and their attitude towards it. For example, I don't know that I ever had the chance (thank goodness haha!) to truly fall in love with Avatar when I saw it with my skeptical friend Shauny. She isn't too keen on sci-fi but was game to see the movie with me anyway (I love that about her, she'll see anything with me!) We both went along with the movie to a point, but when the alien sex scene happened we both kind of lost it. She snickered at the ridiculousness of the scene, and I was brought out of it too because of her reaction and thought to myself, "yeah...this is pretty ridiculous." Had I seen the movie with my Dad (who is obsessed with it now) I probably, at least initially, would have had different feelings on the movie. Though I'm still convinced that I would have felt some sort of backlash for it anyway as it became a cultural phenomenon and made SO much money when it was really only average (and completely derivative)...but that's another story... But back to Letters to Juliet. This was a sweet little film, which my mom happened to adore, and her enthusiasm was contagious. My friend Anna had seen it a few weeks earlier and told me it was mediocre. If I had seen it with her, I might have had a similar impression. But seeing it with my mom, I saw it for what it was: just a sweet love story. Yes, it had some unbearably cheesy lines in it, and strictly followed the romantic formula that usually I get pretty tired of, but seeing it with her, I still liked it. This is because she saw more in it than just a fairy tale. It's not wrong to be entertained by films like Letters to Juliet, but it's also very important to label it for what it is: entertainment. It's fun, sweet, and cute....but hardly real. In other words, I do think it's very important not to let stuff like this color your expectations of what love and relationships should be, but they are harmless and fun when you understand that fact. So while I don't like giving films like this too much weight, that doesn't mean the romantic side of me (yes, I have one...who knew?) doesn't enjoy seeing happy endings every now and then...even if they are totally far-fetched (but only if the film as a whole, is done right!!) So why did we generally enjoy it? Well, My mom is all about looking deeper and analyzing things (probably where I get it from!) To her, what made the movie special was the relationships between all the characters (not just the romantic relationships, but the mother/daughter type bond between Vanessa Redgrave and Amanda Seyfried as well,) and the amount of chemistry they shared with their respective love interests. This led us to another interesting post-movie discussion about romantic chemistry in film. For me, chemistry can make an average film, above average. It has the power to make or break a film. As we discussed what we considered to be romantic comedy bombs we noticed the main factor always seemed to be a lack of chemistry. Letters to Juliet is a pleasant little film which benefits from a likable cast and easy chemistry between the leads. It's harmless entertainment and the perfect movie to see with your mother. RATING 6/10