Steven Rogers

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P.S. I Love You Review


Grim
Several times a year, greeting cards clutter up a mantel -- their words are filled with sentiment, but they don't really say anything and mean even less to others who idly pick them up, flip through them, and put them down without a second thought. P.S. I Love You is no different from the flimsy, forgettable cards that quickly pile up when stuffed away in a drawer. The film is a variation on the rom-com theme, but instead of pining over an attainable man, our female heroine stews about in the murky emotional aftermath of her husband's death.

Opening with an annoying, clich├ęd fight between Holly (Hilary Swank) and husband Gerry (Gerard Butler), P.S. I Love You quickly takes a turn for the worse with Gerry's death right after the opening credits. Of course, Gerry was the perfect man and devised a plan to send several letters to his widowed wife to help her through her grief after he's passed away. But the film wheels these emotions with no regard for the impact on the characters. Holly's grief is dealt with the same way the film approaches the couple's happy flashbacks -- barely scratching the surface and relying on the sentimental, such as personal trinkets and highlights from their relationship.

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Premiere of 'P.S. I Love You' at the Grauman's Chinese Theater

Steven Rogers and Allison Janney - Steven Rogers and Allison Janney Los Angeles, California - Premiere of 'P.S. I Love You' at the Grauman's Chinese Theater Sunday 9th December 2007

Kate & Leopold Review


Excellent
At first glance, Kate & Leopold appears to be a fairly run-of-the-mill romantic fantasy. A successful, 21st century woman meets the Duke of Albany circa 1876, via a hiccup in the time-space continuum. And although they can't find true love within their own generations, it might be possible with one another. Sounds like a recipe for a safe, mushy Hollywood movie, so what makes this film different? It's the way writer-director James Mangold (Copland, Girl,Interrupted) avoids stereotype, with an intelligent, crowd-pleasing take on the time travel love story. It's smart enough to remind us just how stupid a movie like Just Visiting is.

And not only is the storytelling sharp, but the characters are too. Meg Ryan (not too perky, not too whiny) is Kate McKay, working her way up the NYC corporate ladder, but too busy for love after a four-year relationship with her brilliant ex, Stuart (Liev Schreiber). When Stuart discovers an open portal in the fabric of time -- you have to jump off the Brooklyn Bridge at just the right time -- he accidentally brings the 19th century Duke back to modern-day New York. Everyone involved, including Ryan's kid brother Charlie (the underrated Breckin Meyer), clearly has some baggage and life experience, and Mangold's script (co-written with Steven Rogers) clues us in without clobbering us.

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Hope Floats Review


Grim
Mostly unwatchable story about now-a-huge-failure beauty queen Bullock who goes home to Smithville, Texas to live with Mommy after her husband dumps her on a shock TV show. Full of inexplicably wacky characters, all of whom are unlikable, except for Connick, who redeems the picture marginally. Really, really annoying and over-the-top with heavy handedness. I wish Whitaker would go back to acting.

Stepmom Review


Terrible
One of the worst atrocities of American cinema in recent memory, here we get a one-two punch from two women (Susan Sarandon and Julia Roberts) who really should have known better. The setup: Ed Harris is leaving his dried-up wife for a younger dish (see if you can guess who plays who), but mom won't leave well enough alone after she discovers stepmom is incompetent. A cancer diagnosis ensues, but there'll be lots of singing and cleansing tears before the funeral. Shiver. Just thinking about this story makes us throw up in our mouths a little bit. Chris Columbus's most notorious work.

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