Bad romantic comedies make you scoff at their absurdity; good ones make you wish your life was that absurd. Just Like Heaven is just smart and likable enough to trigger that wishing. David (Mark Ruffalo, Collateral, You Can Count On Me) finds an amazing apartment in San Francisco-only to discover it's haunted by the spirit of the previous tenant, an overachieving doctor named Elizabeth (Reese Witherspoon, Legally Blonde, Election). There's something not quite right about Elizabeth's afterlife; against his better judgement, David agrees to help her investigate her life. but finds himself digging into his own as well. The plot takes a twist that some viewers will see coming, but Just Like Heaven doesn't rely on the surprise alone; the revelation takes the story in a new and just as entertaining direction. Witherspoon and Ruffalo are two of the best romantic leads around, but the surprise is how well their contrasting flavors (perky and moody, respectively) mesh, creating a sparky, engaging chemistry. Also featuring Dina Waters (Freaky Friday), Donal Logue (The Tao of Steve), Ben Shenkman (Angels in America), and Jon Heder (Napoleon Dynamite). [+]

Ever since the late 1970s when the Australian New Wave was in full surge, Down Under directors have delivered movies that often hit you like news from another planet. Offbeat characters, weird narrative twists and a tart mixture of laughs and catastrophe-this is the juice that fuels such flicks as Proof, The Adventures of Priscilla, Queen of the Desert, Strictly Ballroom, Heavenly Creatures and, most certainly, Muriel's Wedding. Directed by PJ Hogan (who would go on to helm the Hollywood hit My Best Friend's Wedding), this little gem follows tradition by featuring an authentic misfit: Muriel (Toni Collette), a great, overweight horse of a girl obsessed with getting married and the music of ABBA. Appropriately, we first meet Muriel at a wedding, all trussed up in a leopardskin number she's boosted for the occasion. When her snotty peers insist that she give up the bridal bouquet to someone who might actually get hitched, when one of the guests turns out to be a clerk in the very store where Muriel ripped off her outfit, you've just got to laugh, she's such an unmitigated mess. A loser, her philandering politician father (Bill Hunter) calls her-along with his doormat wife and his other couch-potato offspring. But this movie's no exercise in geek-bashing. As Muriel takes up with feisty Rhonda (Rachel Griffiths) and moves from Porpoise Spit to the big city, her good-hearted grin and zest for life draw us in despite hilarious gaffes and mishaps. (Making out with a boy for the first time, Muriel suddenly finds herself awash in styrofoam: the oaf has unzipped the beanbag chair instead of her skin-tight leather pants. ) Muriel's Wedding covers territory Hollywood would banish from a comedy-Rhonda's cancer, the suicide of Muriel's mother, a marriage of convenience to an arrogant athlete-yet, like its heroine, it never loses its sense of humour, its will to move on to whatever good thing might happen next. [+]

Kenneth Branagh's 1993 production of Shakespeare's Much Ado About Nothing is a vigorous and imaginative work, cheerful and accessible for everyone. Largely the story of Benedick (Branagh) and Beatrice (Emma Thompson)-adversaries who come to believe each is trying to woo the other-the film veers from arched wit to ironic romps, and the two leads don't mind looking a little silly at times. But the plot is also layered with darker matters that concern the ease with which men and women fall into mutual distrust. Branagh has rounded up a mixed cast of stage vets and Hollywood stars, among the latter Denzel Washington and Michael Keaton, the latter playing a rather seedy, Beetlejuice-like version of Dogberry, king of malapropisms. -Tom Keogh.

Pauline Collins repeats her stage success as the character Shirley Valentine, a married woman who decides in her middle years that she wants more out of life. Leaving her spouse behind, she heads to Greece, where she grows close to a low-key local bloke (Tom Conti). Collins and director Lewis Gilbert (Educating Rita) choose to let the character, as she did in the play, speak directly to the audience at times and the gamble works in terms of creating a gentle, intimate atmosphere. Conti is a bonus, a warm presence and funny to boot. -Tom Keogh.

Music & Lyrics is frothy and sweet, like the top of a perfect cappuccino shared a deux. Hugh Grant is a self-professed "happy has-been," playing his befuddled, adorable persona more spot-on than he has since Four Weddings and a Funeral. As Alex, former member of an '80s pop band who years later is playing at water parks and high school reunions, he's settled into a life of lesser expectations. Drew Barrymore, quietly radiant, is Sophie, the underachieving girl Friday who arrives to water-make that overwater-Alex's plants-and to explode him out of that comfy rut. If the plot's a bit farfetched, it matters not, since the two lead characters are so likable-and make such beautiful music together. Big bonus: the supportive role of Kristen Johnston as Rhonda, Sophie's older sis (and longtime Alex fan) whose hilarious performance threatens to steal the show whenever she's onscreen. (The owner of a chain of successful weight-loss centers, Rhonda tries to comfort a rattled Sophie: "Want to do some stress eating?") The film also marks the remarkable debut of Haley Bennett, who plays a pop star of Britney/Cristina proportions with deadpan sincerity radiating through her skimpy outfits and mega-extensions. As Alex and Sophie work on crafting musical magic, something else is taking hold. It's music to the ears of anyone needing a sweet romantic comedy that hits all the right notes. -A. [+]

While director Norman Jewison's Moonstruck is a romantic cornerstone, this 1994 film is often overlooked. It's a sweet valentine about a young woman, aptly named Faith (Marisa Tomei, never cuter), who chases an unknown man to Europe because the name "Damon Bradley" was once spelled on a Ouija board as her true love. With her sister-in-law (Bonnie Hunt, whose own marriage seems to be falling apart), she travels the streets of Rome looking for Damon Bradley. And lo and behold, she literally runs into a man claiming to be Damon. Is this meant to be? Faith certainly thinks so. Robert Downey Jr. (also never cuter) plays Damon in a role that showcases his charms. He shows his quick wit in handing Faith's advances and his absolute devotion to her when the winds change. Despite the cuteness factor, this is a movie to fall in love with. Jewison and Sven Nykvist (Ingmar Bergman's cameraman) present a sun-kissed Italy so beautiful, you might be tempted to hop on a plane immediately after viewing the movie. [+]

Although it's been three years since we last saw Bridget (Renée Zellweger), only a few weeks have passed in her world. She is, as you'll remember, no longer a "singleton," having snagged stuffy but gallant Mark Darcy (Colin Firth) at the end of the 2001 film. Now she's fallen deeply in love and out of her neurotic mind with paranoia: Is Mark cheating on her with that slim, bright young thing from the law office? Will the reappearance of dashing cad Daniel Cleaver (Hugh Grant) further spell the end of her self-confidence when they're shoved off to Thailand together for a TV travel story? If such questions also seem pressing to you, this sequel will be fairly painless, but you shouldn't expect anything fresh. Director Beeban Kidron and her screenwriters-all four of them!-are content to sink matters into slapstick, with chunky Zellweger (who's unflatteringly photographed) the literal butt of all jokes. Though the star still has her charms, and some of Bridget's social gaffes are amusing, the film is mired in low comedy-a sequence in a Thai women's prison is more offensive than outrageous-with only Grant's rakish mischief to pull it out of the swamp. -Steve Wiecking.

Kate Hudson twinkles as the heroine of How to Lose a Guy in 10 Days. She's a magazine writer assigned to date a guy, make all the mistakes girls make that drive guys away (being clingy, talking in baby-talk and so on) and records the process like a sociological experiment. However, the guy she picks- Matthew McConaughey-is an advertising executive who's just bet that he can make a woman fall in love with him in 10 days; if he succeeds, he'll win a huge account that will make his career. The set-up is completely absurd, but the collision of their efforts to woo and repel creates some pretty funny scenes. McConaughey's easy charm and Hudson's lightweight impishness play well together and the plot, though strictly Hollywood formula, chugs along efficiently. At moments Hudson seems to channel her mother, Goldie Hawn, to slightly unnerving effect. -Bret Fetzer.

By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot. The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighbourhood yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes. It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and colour co-ordinates their wardrobes for cocktail parties. [+]

Achieving balance in one's life can be a difficult process, but master chef Kate Armstrong (Catherine Zeta-Jones) leads a regimented, very ordered existence running the kitchen of an exclusive restaurant and revels in the sense of power and control her career affords. When Kate's sister is unexpectedly killed in an automobile accident and her 9-year old niece Zoe (Abigail Breslin) moves in with her, Kate's life is turned completely upside down and she is suddenly forced to split her focus between work and family. Enter a newly hired, fun-loving, opera-singing sous-chef Nick Palmer (Aaron Eckhart), whom Kate perceives as a serious rival, and thus begins an impassioned struggle on Kate's part to rein in Nick's exuberance and maintain control over her kitchen staff. Even as they clash, Kate is inexplicably drawn towards Nick, eventually coming to the realisation that Nick offers something that she needs both in her restaurant kitchen and her new life with Zoe. Based on the screenplay for Mostly Martha, Catherine Zeta-Jones carries the lead well in this romantic comedy and there's a nice chemistry between herself and Aaron Eckhart, as well as a poignant performance by Abigail Breslin. And, of course, and the food looks simply scrumptious. -Tami Horiuchi.

Nice concept, shaky execution-that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies and its central idea-the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow-is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the centre of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch)and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: the two scenarios are so romantically unbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. -Jeff Shannon.

Decent, lighthearted and fully amusing slapstick is hard to come by these days, and 1993's Groundhog Day manages to also be genuinely wise about the human condition. All this and belly laughs too! Bill Murray stars as Phil, a bored, petulant news reporter, who is ordered to give his annual live report from Punxsutawney, Pennsylvania on February 2. Though desperate to get out of the one-horse town and the appallingly sentimental assignment, Phil finds himself reliving the same day over and over again until he finally mends his ways. The film takes an absurd situation and explores its every imaginable comic possibility. Because none of the other characters are aware that Groundhog Day is continually repeating itself, Phil goes through a repertoire of responses, from conniving lust for Rita (Andie MacDowell) to gleeful nihilism to a Zen resignation worthy of Buster Keaton. Murray is reliably good, and this flick gives him a chance to be warm (though never fuzzy). Bill Murray does warmth in Groundhog Day, a romantic fantasy about a wacky weatherman forced to relive one strange day over and over again, until he gets it right. Snowed in during a road-trip expedition to watch the famous groundhog encounter his shadow, Murray falls into a time warp that is never explained but pays off so richly that it doesn't need to be. Director Harold Ramis (who co-starred with Murray in Ghostbusters) takes an absurd situation and explores its every imaginable comic possibility. The elaborate loop-the-loop plot structure cooked up by screenwriter Danny Rubin is crystal-clear every step of the way, but it is Murray's world-class reactive timing that makes the jokes explode, and we end up looking forward to each new variation. [+]

Italian star and filmmaker Massimo Troisi was dying of heart failure even before this film, his dream project, began production, and he prevailed upon British director Michael Radford (White Mischief) to see him and the film through to the end. (The 40-year-old Troisi, a beloved comic actor in Italy, died the day production wrapped. ) Based on true events, Troisi plays a shy postman who strikes up an unlikely friendship with exiled Chilean poet Pablo Neruda (Philippe Noiret). Through Neruda's example and tutelage, the hero learns to think of his Italian fishing village in lyrical terms, as well as how to talk to women and even find the strength to take his political stands. Sweet as it is, the film finally pushes beyond its charming borders to become an even more complex and poignant story about the pain of growing into one's destiny. -Tom Keogh, Amazon. com.

Screenwriters rarely develop a distinctive voice that can be recognized from movie to movie, but the ornate imagination of Charlie Kaufman (Being John Malkovich, Adaptation) has made him a unique and much-needed cinematic presence. In Eternal Sunshine of the Spotless Mind, a guy decides to have the memories of his ex-girlfriend erased after she's had him erased from her own memory-but midway through the procedure, he changes his mind and struggles to hang on to their experiences together. In other hands, the premise of memory-erasing would become a trashy science-fiction thriller; Kaufman, along with director Michel Gondry, spins this idea into a funny, sad, structurally complex, and simply enthralling love story that juggles morality, identity, and heartbreak with confident skill. The entire cast-Jim Carrey, Kate Winslet, Kirsten Dunst, Elijah Wood, Mark Ruffalo, Tom Wilkinson, and more-give superb performances, carefully pitched so that cleverness never trumps feeling. A great movie. -Bret Fetzer.

Featuring a blowzy, winningly inept size-12 heroine, Bridget Jones's Diary is a fetching adaptation of Helen Fielding's runaway bestseller, grittier than Ally McBeal but sweeter than Sex and the City. The normally sylphlike Renée Zellweger (Nurse Betty, Me, Myself and Irene) wolfed pasta to gain poundage to play "singleton" Bridget, a London-based publicist who divides her free time between binge eating in front of the TV, downing Chardonnay with her friends, and updating the diary in which she records her negligible weight fluctuations and romantic misadventures of the year. Things start off badly at Christmas when her mother tries to set her up with seemingly standoffish lawyer Mark Darcy (Colin Firth), whom Bridget accidentally overhears dissing her. Instead she embarks on a disastrous liaison with her raffish boss, Daniel Cleaver (Hugh Grant, infinitely more likeable when he's playing a baddie instead of his patented tongue-tied fops). Eventually, Bridget comes to wonder if she's let her pride prejudice her against the surprisingly attractive Mr. Darcy. If the plot sounds familiar, that's because Fielding's novel was itself a retelling of Jane Austen's Pride and Prejudice, whose romantic male lead is also named Mr. Darcy. An extra ironic poke in the ribs is added by the casting of Firth, who played Austen's haughty hero in the acclaimed BBC adaptation of Austen's novel. First-time director Sharon Maguire directs with confident comic zest, while Zellweger twinkles charmingly, fearlessly baring her cellulite and pulling off a spot-on English accent. [+]