THE LOVE HYPOTHESIS (2026)

September 22, 2026

Greetings again from the darkness. This year’s batch of Hallmark Christmas movies hasn’t hit yet, so for those fans, here’s the next best thing … a Romantic Comedy based on the New York Times bestseller written by Ali Hazelwood. Directed by prolific TV director Claire Scanlon, with an adapted screenplay by Sarah Rothschild, the film delivers easy comedy with a burst of ‘Girl Power’.

Lili Reinhart (CHEMICAL HEARTS, 2020) stars as Olive, a junk food junkie fighting anxiety over her Grad School interview when we first meet her. This anxiety acts as an internal battle for the brilliant researcher committed to finding a treatment for pancreatic cancer, the disease that took her mother. Once on campus at Stanford, Olive is quickly befriended by the much more outgoing Anh (Rachel Marsh, “Unstable”). The story’s ‘conflict’ occurs when Olive realizes she and Anh have a crush on the same guy, Jeremy (Nicholas Duvernay, “The White Lotus”). Being the grateful and dutiful friend she is, Olive yields the lust to Anh via a most awkward interaction with Dr. Adam Carlsen (Tom Bateman, DEATH ON THE NILE, 2022).

Soon, ‘Dr Evil’ (as Carlsen is known by students) and Olive have struck up a mutually beneficial “fake dating” agreement, complete with rules and regulations. This arrangement allows Dr. Carlsen to pursue the professional advancement he requires, while Olive can ensure that BFF Anh and Jeremy are unencumbered to pursue romance. It’s a win-win, except, of course (and obviously), fake dating rarely stays fake. The necessary complication arrives in the form of Dr Thomas Benton (Arty Froushan, “Daredevil: Born Again”) who fulfills the role of scummy, misogynistic male who abuses his position of power.

This is a Girl Power story told in a rom-com the traditional rom-com style, which makes it a challenge for some of us to appreciate. Reportedly, author Hazelwood used Rey from the Star Wars movies as inspiration for Olive. In a touch of synchronicity, Daisy Ridley (who played Rey) is married to Tom Bateman. It’s not difficult to imagine this as a more real-life drama, which means the story is one worth telling. As a bonus, the best line in the movie is, “Carry yourself with the confidence of a mediocre white guy”, and that made me laugh.

Premieres on Prime Video on September 23, 2026

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Posted by David Ferguson

DO US PART (2026)

August 6, 2026

Greetings again from the darkness. Movie weddings are fertile grounds for romantic-comedies. Folks get dressed up and meet at a fancy venue, while possibly drinking a bit too much and almost certainly dealing with an abundance of family drama. Emotions and stress levels skyrocket, and some handle this better than others. Writer-director Reed Arnold (his directorial debut) sees this as the perfect opportunity for the groom’s ex (best friend/wannabe lover) to crash the wedding, igniting chaos and guilt and pent-up feelings … and laughs.

Ryan (Travis Laughlin) is the groom, while his best man and best friend, Mark, (the filmmaker Arnold) is doing what he does – keeping things loose and wondering how many bridesmaids he can sleep with. We learn quickly that Ryan is a good guy and Mark is a reason so many women don’t trust men. The wedding day is clicking along with only Mark’s juvenile one-liners causing any disturbance. That changes quickly when Rose (Kelly Russo) arrives … uninvited. Rose and Ryan were best friends in college and seemed destined to be together forever. We know this thanks to the flashback where we see their first meeting as Rose works the Pancakes for Parkinsons fundraiser.

Entirely too much is disclosed as these once close friends babble on about the past, present, and future. Despite radio silence for years, Rose simply couldn’t hold back her feelings for Ryan any longer – opting to spoil his wedding day by unleashing her pent-up love. I found myself wondering who is the biggest child amongst these three, and being baffled at the adulting failures on display. There are some unexpected twists here, and the best scene is not the face-to-face between Rose and the bride-to-be, Julia (Laura Elizabeth Delhauer), but rather a tender moment on the sofa between Ryan and an inebriated Rose.

At some point, we all realize that personal connections slip over time. Even those friends whom we once viewed as close and irreplaceable often take a different path in life. In these cases, our memories tend to jumble – we dwell on the really good or the really bad. Mr. Arnold’s film goes even further by uncovering long-held secrets among old friends, creating even more pain. While I struggled a bit with the level of acting in the film, the story structure was such that the film plays as more entertaining than most rom-coms … although I do believe it might work even better as a stage play.

Opens in theaters: NYC August 7, Los Angeles August 14

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Posted by David Ferguson

FANTASY LIFE (2026)

March 28, 2026

Greetings again from the darkness. As one who readily admits to unabated cringing at most romantic-comedies, it’s with a certain burst of pride that I acknowledge that this one from first time writer-director Matthew Shear is actually quite entertaining, and possesses a minimal cringe factor. There are likely a couple of reasons for this. First, Mr. Shear, who also stars in the film, has clearly been influenced by his time acting on filmmaker Noah Baumbach’s sets, and the second reason would be the most welcome presence of Amanda Peet in her first big screen role in 10 years.

We first meet Sam (Matthew Shear) as he’s being fired from his job, and soon after as he’s having a panic attack in a coffee shop. We recognize Sam’s overall lack of confidence, even before he heads to his appointment with a psychiatrist (Judd Hirsch). It’s there where the receptionist (Andrea Martin) suggests he consider babysitting for her three granddaughters. Sam initially views this nanny/manny position as temporary, but of course, it ends up being an extended gig. In fact, the story is loosely divided into the seasons of the year.

Sam is instantly attracted to Dianne (Amanda Peet), the mother of the three girls. Dianne is attempting to revive her acting career (it’s an age thing) while also managing a teetering marriage to musician David (Alessandro Nivola). David announces he’s headed out on an extended tour in Australia, making Sam’s manny position all the more crucial to Dianne … providing the time and proximity for the two to get better acquainted. Their initial bonding comes courtesy of granola.

Touches like the granola and the realization that the story doesn’t go down the predictable road are what set this one apart from the slew of mush in this genre. Mental health and the meds-of-the-day are part of the landscape, as are antisemitism and ageism. There is even a ‘Lake Bell’ crack and a grumpy grandpa. We do get the obligatory disastrous family dinner, but even that is handled with a spin. The ensemble cast is exceptional. In addition to Judd Hirsch and Andrea Martin, we are also treated to Bob Balaban, Jessica Harper, Holland Taylor and Zosia Mamet. Each is terrific, but let’s leave no doubt … this is Amanda Peet’s moment to shine (again), and she seizes it. As a winner of the SXSW Narrative Feature Audience Award, Matthew Shear’s film proves anxiety and NYC angst can play wide. The film may be as much character study as it is rom-com, but I’m sticking to my ‘minimal cringe’ description as a compliment.

Opens in theaters on March 27, 2026

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Posted by David Ferguson

PEOPLE WE MEET ON VACATION (2026)

January 12, 2026

Greetings again from the darkness. We always hear that the most challenging rom-coms to make are the friends-to-lovers stories. That theory has always confused me since one of the best, if not the best, of the genre was WHEN HARRY MET SALLY … a perfect example of friends-to-lovers. Along that path comes the film adaptation of Emily Henry’s romance novel, directed by Brett Haley (THE HERO, 2017) and written by Yulin Kuang, Amos Vernon, and Nunzio Randazzo.

Poppy (Emily Bader, “My Lady Jane) is a free-spirited travel writer who never misses a chance to talk about her desire to explore the world. Alex (Tom Blyth, “Billy the Kid”) is a reserved guy who prefers a quiet life. Despite growing up in the same small Ohio town, Poppy and Alex never met until she hitched a ride back home from Boston College. The ‘opposites attract’ theory doesn’t hold here … well, the two beautiful people are definitely opposites, but there would be no attraction were these two characters placed anywhere other than in the middle of a rom-com.

Against all odds, a bond of friendship does form. Poppy and Alex make a pact to meet once every year for a vacation – a way to get her mind off of work and a way for him to get a bit more adventurous. The film shows us different trips the two take together, and we see some of the blips that occur along the way. It’s obvious to see how Poppy learns to appreciate Alex’s stability, while Alex gains an understanding of Poppy’s wild side. Supporting work comes from Sarah Catherine Hook (Piper in “The White Lotus”) as Sarah, Alex’s on-again-off-again girlfriend, Lukas Gage as a guide they meet on a trip, and Molly Shannon and Alan Rick as Poppy’s hugging parents.

There is never any real doubt about where all this is headed – only how long will it take. Brett Haley’s movie will serve the same role as Emily Henry’s novel: a warm blanket for those who believe in the destiny of love.

Premieres on Netflix on January 9, 2026

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Posted by David Ferguson

CHAMPAGNE PROBLEMS (2025)

November 19, 2025

Greetings again from the darkness. I’ll begin by admitting two things. First, I don’t watch many romantic-comedies. Second, I do understand why the genre is appealing to so many. That second point seems especially true around the holidays when emotions run high and the Hallmark channel peaks. Netflix is joining in the fun with this latest from writer-director Mark Steven Johnson, who in 2010 explored the genre with WHEN IN ROME. Not one to shy away from gorgeous settings, this time Johnson takes us to Paris, France.

Minka Kelly (“Titans”) stars as Sydney Price, an ambitious executive whose boss is finally giving her an opportunity to close a big acquisition. Usually relegated to sourcing the deals, she views this as her chance to take the next step professionally. One added benefit is a trip to Paris, which leaves her sister Skyler (Maeve Courtier-Lilley) holding her to a pinky-swear to spend one night sightseeing, rather than working. Once at her gorgeous hotel, Sydney takes a walk to one of the iconic Paris bookstores. It’s here where she gets her meet-cute with Henri (Tom Wozniczka, “Slow Horses”).

Of course, we all know the formula. He’s charming and handsome. They flirt. Will they or won’t they? He turns out to have a surprise identity. They have their ups and downs, including a couple of misunderstandings. All of this happens concurrently with Sydney competing for the purchase of the champagne company owned by Hugo Cassell (Thibault de Montalembert, ALL QUIET ON THE WESTERN FRONT, 2022). The fun really begins when Hugo invites Sydney and the other bidders to his stunning Chateau Cassell. The others are fronted by French local Brigitte (Astrid Whettnail, “The Missing”), German Otto (Flula Borg, THE SUICIDE SQUAD, 2021), and wildcard Roberto (Sean Amsing, “Parked”). Brigitte is conniving, while Otto is stiff and calculated (and believes DIE HARD is a tragedy since Hans Gruber dies), and Roberto is a party animal and son of a billionaire … and provides most of the film’s comic relief.

Sydney and Henri get a flirty, sparkling evening ride on the giant Ferris wheel, as well as a light show under the Eiffel Tower. The setting and sights are breathtaking – both Paris and the Chateau. Despite the formulaic approach and lack of any real suspense, the film serves its purpose by delivering a love story with some laughs in an incredibly romantic and stunning setting. Just remember that “Champagne isn’t just a drink, it’s a celebration”, so “taste the stars” (and don’t dig too deep).

Premieres on Netflix on November 19, 2025

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Posted by David Ferguson

ALL OF YOU (2025)

September 26, 2025

Greetings again from the darkness. This plays like a spin on the old Verizon commercials: Do you love me now? Writer-director William Bridges and co-writer/ lead actor Brett Goldstein deliver one of the more frustrating and cringey romantic movies I’ve seen in a while. There are a couple of character references to situations feeling too “adult”, and I kept thinking, why don’t any of these grown-ups act like an adult?

Simon (co-writer Goldstein, “Ted Lasso”) and Laura (Imogen Poots, THE FATHER, 2020) have been best friends since their days at university. Their bond is so close, they seem one step from having their own secret language. As the opening credits play, we are inundated with advertisements for Soul Connex. The ads claim all it takes is “a simple eye test” to find your forever soul mate. Now, in real life, it’s possible that two people as connected as Simon and Laura might recognize the soul mate sharing inside jokes with them, but in this movie, complications are mandatory.

Laura decides to take the test, while Simon adamantly refuses. He prefers to let nature take its course (a rare toaster analogy), while she prefers to charge his credit card for her test. She’s certain they will remain friends, which contrasts with his line, “I’ll miss you every day”. Sure enough, Laura finds her match in Lukas (Steven Cree, “Outlander”), while Simon becomes a periodic third wheel. She loves Lukas and they have a kid together, while Simon wanders through the forest of potential mates … periodically meeting up with his old BFF as sparks are re-ignited.

There is a major shift when Laura’s dad dies, and the film becomes one of the most maddening scenarios that any movie has dared present. The settings are often stunning, and the people are quite pleasant to look at, but the recurring situations defy all rational romance and true love preferences. It becomes something we have no interest in participating in, and frankly, turns these two previously pleasant and easily likable characters into quasi-villains that we no longer care for in the least.

Typically, I can find something positive to latch onto in a movie, regardless of however much negativity I feel towards the rest. All I can say here is that both lead characters need to realize it’s time to be an adult – and that means doing the right thing (or at least it used to).

The film will be released in select theaters and on Apple TV+ on September 26th, 2025

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Posted by David Ferguson

OH, HI (2025)

July 25, 2025

Greetings again from the darkness. One of the benefits of watching so many movies each year is the exposure to various generations negotiating their way through a variety of genres. That ‘benefit’ can sometimes be painful, as in this latest from writer-director Sophie Brooks (THE BOY DOWNSTAIRS, 2017). Despite cringing at the trailer, I agreed to watch this because I’m a fan of the two lead actors.

Iris, played by the film’s co-writer, Molly Gordon (“Animal Kingdom”, SHIVA BABY, 2020) and Isaac, played by Logan Lerman (“Hunters”, THE PERKS OF BEING A WALLFLOWER, 2012), are a couple heading to a rented farmhouse for a romantic weekend getaway. On the drive, each takes the appropriate part (Dolly and Kenny) as they harmonize to “Islands in the Stream”. It’s a typical rom-com moment for a (so-far) typical rom-com couple. An odd encounter at a roadside strawberry stand puts us on notice, without making anything too obvious. The farmhouse is quaint with a beautiful view … a perfect setting for the couple to initiate intimacy on the sofa, in the pond, and even in bed.

After Isaac prepares a romantic dinner, including scallops, the two head upstairs to toy around with the actual toys hidden in the closet. Soon Isaac is cuffed to the metal frame bed and the two are arguing quite fiercely about the ground rules for their relationship. In fact, Isaac doesn’t believe it’s an actual relationship, while Iris argues that he made scallops, so things must be serious! This is where filmmaker Brooks takes a mighty swing, and some will say it’s an absurd whiff, while others might view this as maximum creativity. Either way, it’s a narrative risk that borders on preposterous.

Iris leaves Isaac cuffed to the bed and tries to bargain for time to convince him that they are the perfect couple and deserve a chance. The next development certainly makes defending the film even more difficult. Iris calls her friend Max (Geraldine Viswanathan, BLOCKERS, 2018) and her beau, Kenny (John Reynolds, “Search Party”) to join her in this crime of captivity. When her friends agree to support Iris, soon a witch’s spell is conjured in hopes of finding a way out of the crime that Kenny’s obsession with “Law & Order” has detailed.

Personally, I prefer my rom-coms with a twist and a dose of dark comedy. I’m not sure what to call this or how to support the efforts. Isaac may not be a great communicator as a partner, and Iris may have some type of mental disorder, but the arrival of friends should have taken this down a different path. Kudos for attempting to salvage the ending, but mostly I would recommend caution when serving scallops for dinner.

Releasing on July 25, 2025

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Posted by David Ferguson

SUNLIGHT (2025)

June 6, 2025

Greetings again from the darkness. After you loop the belt around the ceiling fan in the cheap roadside motel, you then tighten it around your neck. You are prepared to follow through, yet when you regain consciousness, you are shocked to realize your Sunshine Radio motorhome is being driven by a human-sized monkey. Writer-director and lead actress Nina Conti and co-writer and lead actor Shenoah Allen quickly jumpstart the oddities and make it clear this one is going where no man or monkey has gone before.

Ms. Conti (Tom Conti’s daughter) supersizes her stage act to play Jane in the monkey suit, while Mr. Allen takes on the suicidal Roy. The two become more than traveling partners. They slowly establish a connection that only two broken people can share – through humor, pain, and emotions. Jane has her sights set on Colorado and a business plan involving a pontoon boat with a banana floatie attached. Roy’s mission is to dig up his father’s grave and remove a valuable item that will make things better for both him and Jane.

You’ve never seen a road trip movie like this one. You’ve never seen a buddy film like this one. You’ve never seen a rom-com like this one. Despite the title, some of it is a bit dark, but the expertly written comedy never lets the shadow last too long. Instead, the focus is on these two people discovering themselves and each other. Jane says, “You can’t like her and me”, when referring to the person inside the monkey suit. Roy wants to cuss out his father when he exhumes the body. He’s already mad at his grumpy police mother (a colorful Melissa Chambers), but she’ll have more to say later.

Fake watches, a wolf costume, and an old motel key have their moments, but the best stuff is the banter between Jane and Roy. Sometimes, with a twist to the story, it’s even more than banter. Although these two people have been beaten down by life, they manage to find hope in each other. A tender and emotional story of connection builds, despite (or maybe because of) the monkey suit. The New Mexico scenery (cinematographer James Kwan) complements the pair’s banter as it ranges from argumentative to playful to flirtatious to psychological. Surprisingly, the film is a true pleasure to watch, although the ending might seem a bit off to some.

Begins its theatrical rollout in NYC on June 6, 2025

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Posted by David Ferguson

JANE AUSTEN WRECKED MY LIFE (2025)

May 22, 2025

Greetings again from the darkness. Although I don’t tend to seek out the majority of romantic comedies released each year, this film’s title and backstory were enough to pique some interest. Writer-director Laura Piani was inspired to write this story during her time working (and reading) at Shakespeare and Company, a favorite haunt of writers and readers (and me) while in Paris.

Agathe (an excellent Camille Rutherford, ANATOMY OF A FALL, 2023) is a woefully unattached book seller who engages in humorous and sometimes pointed banter with Felix (Pablo Pauly), her co-worker at Shakespeare and Company. In Jane Austen terms, Agathe sees herself as an old maid, and Felix as a philandering scoundrel. She accuses him of being a master of “breadcrumbing” … her word for leading on a string of women whilst never committing. Still, as you can imagine, there is an obvious attraction between the two friends.

Felix secretly submits the first few chapters of Agathe’s novel, and to her shock, she is selected to attend a writer’s retreat at The Jane Austen Residency. It’s important to note that Agathe has no confidence as a writer and fears she will be exposed as a fraud. Felix drives her to the ferry and the two exchange their first kiss, igniting joy and excitement within Agathe. Picking her up on the other side is Oliver (Charlie Anson, DEATH ON THE NILE, 2022), who claims to be the great-great-great nephew (I forget how many ‘greats’) of Jane Austen. Agathe and Oliver have immediate personality clashes, including over the writing talent of Ms. Austen. Of course, every fan of rom-coms will recognize this as a mandatory step towards romance.

After the miserable and extended trip with Oliver, Agathe is greeted warmly by the hosts, Oliver’s parents, Beth (Liz Crowther) and Todd (Alan Fairbairn), the latter suffering from undiagnosed dementia – resulting in a few comical situations. Noting that Agathe was first inspired to begin her novel after spotting the image of a naked man in the bottom of her sake cup (the ladies version) at a restaurant, it seems only fitting that she accidently exposes her own full flesh to Oliver in a moment of absolute embarrassment.

As expected, Agathe battles a complete writing block during her stay, and it’s only at the throwback Ball where the contrast between Felix and Oliver takes center stage. Agathe and fun-loving Felix take a laugh-filled spin around the dance floor, but it’s the steamy and intense effort of Agathe and stuffy Literature Professor Oliver that keys her into what we viewers already know … thanks to the film’s best scene in a collectibles store where an awkward and enchanting exchange of personal disclosures occurs between Agathe and Oliver.

Filmmaker Piani includes a poem reading by renowned documentarian Frederick Wiseman near the end, and the film’s music adds to the artistic touches throughout. At the film’s opening, there is an incredible version of “Cry to Me” sung by Marie Modiano as Agathe dances through the shelving aisles, and beautiful piano music and a score by Peter Von Poehl add to the overall tone and feel of the story. The film contains many familiar Jane Austen tropes (although the style is more Mike Leigh than Merchant/Ivory); however, it’s a bit surprising that a few more nods to Austen’s work aren’t included. The message that Agathe learns, and the one best conveyed by the film, is that true love cannot be found until one first finds their true self.

Opens in theaters on May 23, 2025

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Posted by David Ferguson

CHOSEN FAMILY (2025)

April 18, 2025

Greetings again from the darkness. It’s feasible for a filmmaker to have the best intentions with a project, and for whatever reason, the end result just not be satisfying. This appears to be the case with this latest from Heather Graham, who wrote, directs, and stars in a film meant to inspire us to take control of our own life and stop blaming others for the obstacles or our own poor decisions.

Ms. Graham (BOOGIE NIGHTS, 1997) stars as Ann, a self-described people-pleaser who teaches yoga at a studio she doesn’t own in a coastal Rhode Island community that looks to be somewhat affluent. Somehow, her sparsely attended yoga classes must pay well, as Ann lives in a stunning home overlooking the water. Her first mission is to pick up her sister Clio (Julia Stiles, 10 THINGS I HATE ABOUT YOU, 1999) from drug rehab and drop her at their parents’ house. Dad (Michael Gross) is a religious zealot constantly accusing Ann of “living in sin”, while Mom (Julie Halston) is filled with regret that she never pursued the singing career she desired. This is Ann’s family, so given the film’s title, you can likely guess where this is headed.

In contrast to her chaotic family, Ann has a group of very close friends who support her. Max (Thomas Lennon, “Reno 911”) is opening a new waterfront restaurant with the help of his wife Francis (Oscar winner Odessa Rae) and their friend Roz (Andrea Savage, STEP BROTHERS, 2008). Ann’s poor/comical track record with boyfriends is a constant point of discussion, and Max introduces her to his contractor, Steve (John Brotherton, FURIOUS 7, 2015). Steve is a nice man and the two hit it off.

Things change quickly when Steve agrees to introduce Ann to his daughter Lilly (Ella Grace Helton, “Sweet Magnolias”), who hasn’t handled her parents’ divorce very well. That’s an understatement. In fact, Lilly displays the psychotic behavior of someone who has been a psychopath-in-training for years. She’s manipulative and vindictive, and has no intention of letting Ann come between her and good ol’ dad.

I’d like to say this piece of the story is overdone to the extreme, but again, that would be an understatement … one capped off with a totally inappropriate hip-hop dance contest between Ann and Steve’s child, Lilly. This happens around the time that Ann posts an all-too-honest vlog while wearing a bikini and dissing her family. Somehow, all of this is supposed to be played as comedy, but mostly it’s kind of pathetic seeing grown adults act the way they do here. At least Lilly’s obnoxious behavior can be explained as a young kid going through a stressful destruction of the only life she’s known.

Ann’s vlog brings her notoriety as an influencer, yet she continues to kowtow to Steve, her parents, and her sister. Things come to a head when Ann gets her big yoga break on stage at an exposition. Chaos ensues on stage and it (finally) awakens something in Ann.

We get a quick dose of a horrific backstory involving Ann and Clio as kids, but it’s never explored, and Ms. Graham handles most of Ann’s scenes with a mixture of bug eyes and squinting in disbelief.  The end result may not be what we’ve come to expect from movies, but it’s the sensible finale that gives meaning to the film’s title. There is very little real humor in this comedy, and though just about any of the story lines could have been more fully developed, we are instead left with a mishmash of Ann’s own making … which turns out to be the moral of the story.

Available for digital download beginning April 21, 2025

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Posted by David Ferguson

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