" While things may unfold in a predictable manner, The Wedding Planner is still light-hearted fun of the sort that inspires dreamy romantic thoughts. -Jenny Brown, Amazon. com On the DVD: The Wedding Planner on disc has a soft focus to the widescreen 2. 35:1 image which is perfect for this purely entertaining romantic comedy fluff. The soundtrack is done well with both the dialogue and music coming through crisp and clear and despite the fact that this DVD doesn't set out to be a special edition there is more than enough to keep extras features fans happy. There's a good audio commentary from director Adam Shankman and writers Pamela Falk and Michael Ellism as well as a couple of rough-cut deleted scenes with commentary, and two featurettes-one on the making of the film and the second on the choreography of the tango sequence. -Kristen Bowditch.

Fennessy END.

-Rochelle O'Gorman Picture Perfect - If you can get past Jennifer Aniston's form-fitting wardrobe in a movie about a woman struggling to advance in her profession, this romantic comedy is a fair match with My Best Friend's Wedding. Both films feature conniving, self-centered heroines who undergo a transformation-Aniston presents a bogus fiancé (Jerry Maguire's Jay Mohr) to impress her advertising agency boss and gradually discovers a mutual attraction with the imposter. Both movies go off in delightfully unpredictable directions. Picture Perfect falls prey to occasional sitcom fluff, but it's a fine showcase for Aniston's comedic and dramatic attributes. Critics were mixed-to-harsh in reviews for this movie, perhaps because it's a bit derivative and poses slight challenge to Aniston, who proved her skill with light comedy as a principal cast member of TV's Friends sitcom. It's clear that Aniston is a fine comedian, and she shows that talent to advantage in Picture Perfect. -Jeff Shannon She's the One is actor-writer-director Edward Burns' second film, following the widely acclaimed The Brothers McMullen. Given a slightly larger budget to play with ($3m as against his debut project's $25,000), Burns revisits much the same territory-love and sibling rivalry within a New York Irish-American family-but rather more expansively. This time, too, he can run to a few stars-in-the-making (Cameron Diaz, Jennifer Aniston, and John Mahoney from Frasier) to jazz up his cast of relative unknowns. Burns himself plays Mickey, a cab-driver in the Big Apple, with Mike McGlone as his yuppie stockbroker brother, and Maxine Bahns as Hope, the girl Mickey falls for and impulsively marries, much to the romantic delight of Francis's neglected wife Renee (Aniston). Francis, meanwhile, is having a clandestine affair with Heather (Diaz), Mike's former girlfriend-something Mike has yet to learn. Dispensing flawed wisdom and generally muddying the waters yet further is the lads' blunt-spoken father (Mahoney). Plotwise that's about it. Burns relies on his appealing cast and some amiably barbed repartee to hold our interest in what's essentially a dialogue-driven movie. He makes shrewd and sometimes unexpected use of his New York locations, too-it's a fair bet most people's mental image of Brooklyn wouldn't include a waterfront fishing community. This is a good-natured, slightly old-fashioned movie whose benevolent view of the battle of the sexes (where the women are invariably smarter than the men) never digs too deep or hits too hard. -Philip Kemp Office Space - Office Space is a movie for anyone who's ever spent eight hours in a "Productivity Bin", had to endure a smarmy, condescending boss, had worries about layoffs, or just had the urge to demolish a temperamental printer or fax machine. Peter (Ron Livingston) spends the day doing stupefyingly dull computer work in a cubicle. He goes home to an apartment sparsely furnished by IKEA and Target, then starts for a maddening commute to work again in the morning. His co-workers in the cube farm are an annoying lot, his boss is a snide, patronising jerk, and his days are consumed with tedium. In desperation, he turns to career hypnotherapy, but when his hypno-induced relaxation takes hold, there's no shutting it off. Layoffs are in the air at his corporation and with two colleagues (both of whom are slated for the chute) he devises a scheme to skim funds from company accounts. The scam soon snowballs, however, throwing the three into a panic until the unexpected happens and saves the day. A little bit like a US version of The Office before it was actually made, director Mike (King of the Hill) Judge's debut movie is a spot-on look at work in corporate America circa 1999. With well-drawn characters and situations instantly familiar to the white-collar milieu, he captures the joylessness of many a cube denizen's work life perfectly. Jennifer Aniston, a waitress at Chotchkie's, a generic beer-and-burger joint, plays Peter's love interest and Diedrich Bader has a minor but hilarious turn as Peter's moustached, long-haired, drywall-installin' neighbour. -Jerry Renshaw The Good Girl - In The Good Girl Jennifer Aniston gets a make-under that would make her Friends character weep, but she finally proves her acting mettle away from the ditzy-but-glamorous Rachel type. A low-key drama from the writer and director duo behind Chuck and Buck, The Good Girl places Aniston's bored shop-girl Justine at the centre of a soul-destroying life in a sleepy Texan town. Like a modern Madame Bovary, Justine's life is stuck in a rut-her marriage is dull and her job at the Retail Rodeo even duller-when a new colleague Holden (Jake Gyllenhaal) offers her an escape. A tortured soul who's obsessed with The Catcher in the Rye and thinks nobody understands him, Holden is a typical, angst-ridden young man. But to Justine he's intriguing and romantic and their shared sense of dejection soon leads to an affair and a short-lived liberation from their daily lives. Aniston could never pass as dowdy but she does a very convincing turn as the crestfallen Justine, using subtlety and dry humour rather than melodrama to convey her quiet desperation. John C Reilly as her permanently stoned husband and Tim Blake Nelson as his creepy chum are both superb alongside her. Even the smaller roles are furnished with some memorable moments: Justine's colleague makes outrageous tannoy announcements to zombie-like customers at the Retail Rodeo. Funny, strange and touching by turns The Good Girl, has its awkward moments but as a quirky slice of life it gets most things right. -Laura Bushell.

Like Four Weddings and a Funeral and Notting Hill (both of which were written by this film's coscreenwriter, Richard Curtis), Bridget Jones's stock-in-trade is a very English self-deprecating sense of humour, a mild suspicion of Americans (especially if they're thin and successful), and a subtly expressed analysis of thirtysomething fears about growing up and becoming a "smug married. " The whole is, as Bridget would say, v. good. -Leslie Felperin Bridget Jones 2: The Edge Of Reason 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.