Being "forever single"(not because I'm commitment phobic, but because most women don't give me the time of day), I naturally turn my nose up at watching romance movies, but I like to think it's because a lot of them have nothing real at the center. The YOU'VE GOT MAIL's of this world are just interested in cheap sentiment, and as the line from the movie goes, I detest cheap sentiment. But for the most part, there's nothing cheap about this likable movie. It's about two people who have been hurt, one recently(Lewis - Christian Slater), who was career driven until he lost his wife, and now owns a flower shop), one early on (Lisa - Mary Stuart Masterson), the investment banker who hides a past of being abused by her foster father) who are brought together(Lewis sees Lisa crying and the next day sends her flowers), and we truly wonder if this can work, unlike movies where we're just manipulated into thinking that way.
The character of Lewis is perhaps a little weak. Or maybe it's because Christian Slater, who I like, seems at times like he's repeating himself from UNTAMED HEART (which I loved). But some of his actions seem to be overdoing it, and some of his dialogue is over the top. On the other hand, Lisa is perfectly drawn. This is not the stereotypical career-driven "bitch," but a complex woman who, understandably, is afraid to show her emotional scars, and would naturally be drawn to someone like Josh Brolin's character, who is the "romantic equivalent of a night-light." And Masterson doesn't play it in an obvious way, either, but gradually and subtly. Why isn't she a bigger star? I also liked the use of Jann Arden's "Insensitive" here too.
The character of Lewis is perhaps a little weak. Or maybe it's because Christian Slater, who I like, seems at times like he's repeating himself from UNTAMED HEART (which I loved). But some of his actions seem to be overdoing it, and some of his dialogue is over the top. On the other hand, Lisa is perfectly drawn. This is not the stereotypical career-driven "bitch," but a complex woman who, understandably, is afraid to show her emotional scars, and would naturally be drawn to someone like Josh Brolin's character, who is the "romantic equivalent of a night-light." And Masterson doesn't play it in an obvious way, either, but gradually and subtly. Why isn't she a bigger star? I also liked the use of Jann Arden's "Insensitive" here too.