Opposites attract in Fools Rush In, a conventional but refreshingly unpredictable romantic comedy. New York nightclub designer (Matthew Perry, from television's Friends) is in Las Vegas to supervise the construction of a new project when he meets a fiery Mexican beauty (Salma Hayek). It's lust at first sight, and their one-night stand takes an unexpected turn when she shows up three months later to announce that she's pregnant. They're determined to do right for each other, so they get married in a Vegas chapel with an Elvis impersonator as their witness. Then comes the hard part-trying to figure out if they're actually compatible. The plot complications are mostly familiar, but Perry and Hayek throw some bright sparks as their initial bliss turns to more realistic concerns for family and future. Along the way there's some sharp dialogue and a few good laughs to give this all-too-human comedy an enjoyable spin. -Jeff Shannon, Amazon. com.

One of the most endearing and intelligent romantic comedies of the 1990s, the Oscar-winning Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theatre owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, Romeo and Ethel, the Pirate's Daughter. Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic Romeo and Juliet, reflecting the agony and ecstasy of Will and Viola's romance-he's married and she's set to marry the slimy Lord Wessex (Colin Firth). The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of Romeo and Juliet (and even Twelfth Night) is nothing short of brilliant-it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden (Mrs. Brown) reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a truly regal Queen Elizabeth, but the key element of Shakespeare in Love's success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed and lovestruck-it's a performance worthy of Shakespeare in more ways than one. [+]

A Guy Thing wants so desperately to be a funny thing that it turns into almost nothing at all. This movie is like an annoying party guest who won't go home, although the most loyal devotees of Julia Stiles and Jason Lee are sure to get a few good laughs. Lee is awkwardly cast (and costumed) as a husband-to-be who's about to discover he's fallen in love with the free-spirited cousin (Stiles) of his comparatively straight-laced fiancée (Selma Blair). When all the who's-who gets figured out, this decidedly unromantic comedy shifts into autopilot with Lee trapped in a rote series of compromising positions. Every outcome is telegraphed far in advance, and true love takes its course with numbing efficiency. Lee barely squeaks by with his dignity intact; the fact that Stiles emerges buoyantly unscathed is further proof that this beguiling actress is deservedly a star on the rise. -Jeff Shannon.

One of the most memorably offbeat romantic comedies of the 1990s begins when a talk-radio veterinarian named Abby (Janeane Garofalo) takes a call from Brian (Ben Chaplin), the owner of a roller-skating Great Dane. Brian is intrigued by Abby's voice and asks if she'll agree to meet him. Insecure about her looks and her non-existent love life, Abby agrees, but describes herself as a tall blonde, then begs her attractive neighbour Noelle (played by Uma Thurman) to meet with Brian in her place. The ensuing case of switched identity is complicated when Noelle takes a liking to Brian who, of course, thinks she is Abby. This confusion gains comedic momentum when Abby safely plays herself on the radio and in a long, hilariously seductive phone call with Brian, but by now the situation has grown hopelessly complex, and Abby has to find a way to reveal herself without disappointing Brian. Many viewers rightly complained that the movie relies on the assumption that Abby is unattractive, even though Garofalo is more attractive and appealing here than she'd been in several movies before and since. Still, this contemporary variation on Cyrano de Bergerac is a lightweight, good-natured surprise that values the quirks and foibles that make lovelorn romantics (including their pets) uniquely appealing. -Jeff Shannon, Amazon. com.

Barbra Streisand's self-absorbed remake of a 1958 French film stars Jeff Bridges as a college professor tired of sexual politics. He makes a deal with a dowdy colleague (Streisand) that they provide companionship for one another, with no thought of getting into bed. She agrees but soon becomes frustrated, the agreement only reinforcing her unfulfilled desire to have a complete relationship with a man. Mimi Rogers is on hand as Babs's striking sister, and Lauren Bacall received an Oscar nomination for her role as the heroine's selfish mother. The Mirror Has Two Faces is OK, but it becomes an irritating vanity piece for Streisand (who directed as well as stars). Her character constantly gazes upon her own reflection and is told at least a dozen times, one way or another, just how attractive she is. One wants to shout out, we get it already-you're pretty! -Tom Keogh.

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.