A warm, romantic comedy.

A charming but problematic romantic comedy, Three to Tango wobbles between sublime farce and ridiculous contrivance in its detailing of the romantic triangle between an architect (Matthew Perry), a rich businessman (Dylan McDermott), and the businessman's mistress (Neve Campbell). What's the catch? Well, after an absurd misunderstanding, McDermott believes Perry to be gay when in actuality it's Perry's architectural partner (Oliver Platt) who is. Thinking Perry is "safe" material, the jealous McDermott enlists him to watch over Campbell so she doesn't flirt with any other guys, the tacit understanding being that if Perry keeps her out of anyone's arms, a lucrative job will be his. Of course, Perry is instantly smitten, and Campbell takes to him immediately. Both are flummoxed when McDermott reveals Perry's orientation, in one of the film's many subtly rich and funny scenes; Campbell is confused but accommodating, and Perry freaks out inside when he understands that if he wants to keep his job and stay out of debt he has to pretend to have no romantic feelings whatsoever for the woman he loves-and be her constant companion and closest friend. When it sticks to farce-screwball mixed with drawing-room comedy, Three to Tango closely resembles Tootsie, in which another man pretended to be something he wasn't in order to keep his job and his proximity to the woman he loves. However, it's the "gay issue"-and that's exactly how it's dealt with, quotation marks and all-that sadly sabotages the film. Where in Tootsie Dustin Hoffman's cross-dressing was taken in stride, the issue of Perry's supposed homosexuality is treated as an oppressive burden; it's not only borderline offensive, it badly bungles the film's delicate dynamics, weighing down a feather-light romance with excess baggage. It's too bad, because Perry and Campbell are better than you would ever have any reason to believe; their courtship is genuinely funny and touching, and after a while you will find emotional investment in these two ending up together. Despite the film's problems, they manage to pull it over the finish line. [+]

Its ads portrayed The Love Letter as a wacky farce, while critics largely ignored it, presuming it to be a vanity project from Kate Capshaw (better known as Mrs. Steven Spielberg). But The Love Letter is neither; on the contrary, it's a low-key but surprisingly rich and touching film about love, illusions, and regret. Helen (Capshaw), a bookseller in a small seashore town, discovers an unsigned love letter that's fallen into the cushions of a couch in her store. The letter doesn't say who it's for, but Helen assumes it's for her and starts wondering who sent it. One would expect this to lead to a whirling comedy of mistaken identities, but after some amusing daydream moments, the movie follows its story with subtlety and nuance. The characters behave according to their own needs and desires, rather than the demands of standard Hollywood goofiness. The performances-from a cast including Tom Selleck, Tom Everett Scott, Ellen DeGeneres, newcomer Julianne Nicholson, and others-are uniformly unforced and natural. Viewers weary of the hyped-up, absurd emotional climaxes of most so-called romantic comedies will find a respite here. The Love Letter is a genuinely charming film. [+]

Cute and crazy Chase Lawrence teams up with Texas tough guy Austin Ruth when she dumps him in the dirt with her cadillac. But he's used to chewing grit because he's a rodeo rider, and together they take to the road and follow the rodeo circuit. It's trouble all the way. trouble with the cops. fights in bars. [+]

Audrey Hepburn plays a Parisienne whose husband is murdered and who finds she is being followed by four men seeking the fortune her late spouse had hidden away. Cary Grant is the stranger who comes to her aid but his real motives aren't entirely clear-could he even be the killer? The 1963 film is directed by Stanley Donen but it has been called "Hitchcockian" for good reason: the possible duplicities between lovers, the unspoken agendas between a man and woman sharing secrets. Charade is nowhere as significant as a Hitchcock film but suspense-wise it holds its own; and Donen's glossy production lends itself to the welcome experience of stargazing. One wants Cary Grant to be Cary Grant and Audrey Hepburn to be no one but Audrey Hepburn in a Hollywood product such as this, and they certainly don't let us down. -Tom Keogh In Charade Audrey Hepburn plays a Parisienne whose husband is murdered and who finds she is being followed by four men seeking the fortune her late spouse had hidden away. Cary Grant is the stranger who comes to her aid, but his real motives aren't entirely clear-could he even be the killer? The 1963 film is directed by Stanley Donen, but it has been called "Hitchcockian" for good reason: the possible duplicities between lovers, the unspoken agendas between a man and woman sharing secrets. Charade is nowhere as significant as a Hitchcock film, but in terms of suspense it holds its own; and Donen's glossy production lends itself to the welcome experience of stargazing. You want Cary Grant to be Cary Grant and Audrey Hepburn to be no one but Audrey Hepburn in a Hollywood product such as this, and they certainly don't let us down. -Tom Keogh, Amazon. com.

Former classmates meet before the camera of a television program. Slava is an architect, Anya a scholar, Marina an actress, Tolya a Navy officer. Only their class head, Nadya Kruglova, has not achieved any position she is simply the mother of ten redhaired kids. Natalya Gundareva was one of the most famous Soviet screen stars of the 1970s-1980s. An actress of polyphonic gift, she portrayed, more often than not, women who were not very fortunate in love. The entire country sympathized with the ill luck of her Nadka (Hello and Goodbye) and citizen Nikanorova, the hard-earned happiness of Vera (Dormitory Provided for Singles) and Nina (Autumn Marathon), the wretched life of the Sweet Woman. [+]