Jones , and Mike Omar Epps are three childhood friends who recount various moments they've shared while growing up together in Inglewood, California. When Roland gets cold feet on his wedding day, they reflect on how their brotherhood might change because of Roland's marriage, and the friends travel down memory lane to explore their various misadventures as teens growing up in the 80s which include silly middle school bets; run-ins with a local gang member; and, of course, their early experiences with girls.
But it's Mike's crush on Alicia Malinda Williams that takes center stage and makes the Ricky Famuyiwa-directed coming-of-age film a highly celebrated Black love story, along with one of the most vivid depictions of Black brotherhood on-screen. Quincy Omar Epps has his eyes set on a pro basketball career, and Monica is the girl-next-door tomboy who also hopes to make it to the NBA, despite the obstacles presented by her gender. Set in Los Angeles, the film follows the lives of the two neighbors as their mutual passion for basketball grows into a romantic relationship off the court.
However, Quincy's ego and family issues get in the way of the relationship, which ultimately leads to them breaking up. Although the signs are clear that Quincy and Monica shouldn't be in a relationship, the film somehow ends with them playing a basketball game for their love. Nevertheless, Gina Prince-Bythewood's directorial debut paints a hopeful image of love surviving life's harsh realities.
Fox is the friend with all of the answers. She is the voice of reason for her circuit of girlfriends, because her relationship with her boyfriend Keith Fenton Morris Chestnut seems picture perfect—until she finds him at the club with another woman. It doesn't take long to figure out that Jackson Morris Chestnut has serious commitment issues; it's why he's seen going to therapy in the film's opening scene.
The root of Jackson's issues are revealed during his relationship with Denise Gabrielle Union. But he isn't the only one going through relationship troubles. Hughley , and Terry Shemar Moore also find themselves at odds with trying to finally settle down and stay committed to their respective partners. However, the four friends get through their struggles together, illustrating the power of friendship.
Raising Grace: A contemporary Romantic Comedy by Mia Pride
The Bronx natives and best friends grew up as hip-hop developed as a genre. Their love for rap and each other is symbiotic; Sid is a music editor for XXL , and Dre leads the hip-hop department at a major label. But as the landscape of rap evolves, so do their lives.
They've been strictly best friends their whole lives—except that one brief time in grad school—but the prospect of new partners complicates their relationship.
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Brown Sugar explores whether or not it's possible to have "the buddy and the boo. Rebel Wilson was wrong when she declared herself the first plus-sized woman to star in a romantic comedy —she clearly never saw Phat Girlz. Jazmin Biltmore Mo'Nique is inundated with imagery of thin women both at home and at work.
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She dreams of creating a stylish plus-sized fashion line that keeps a woman's curves in mind, unlike the limited options she finds in the department store where she works. A trip to Palm Springs lands her in the same hotel as a Nigerian doctor Jimmy Jean-Louis , the first man Jazmin ever encounters who is willing to love her just as she is.
There was a time in the not-so distant past that comedian Steve Harvey thought he was qualified to teach women how to date. If this doesn't sound cringey enough, the book was adapted for the silver screen with a plot that follows four couples and how the book has altered their love lives. The hiccups each couple face is a reminder that there are no rules to dating, especially from an award-winning "handbook. Will they kiss, have sex, or will he suck her blood? When Stewart and Pattinson, whose chemistry was apparent both on-screen and off, hit Hall H at Comic-Con that summer, romance-starved fans went wild.
A franchise was born. Nancy Meyers is an unabashedly commercial filmmaker of mainstream glossy comedies for women. Her clout comes from being both writer and director. Meyers calls her films relationship comedies with a twist.
They are altered: more good-looking, more thrilling, more romantic, more scary than real life. Each character is given so much personality and so much attention that My Big Fat Greek Wedding could be splintered into several offshoots following the antics of Aunt Voula a rib-achingly funny Andrea Martin or the headstrong Gus Michael Constantine , who can trace anything and everything back to Greece. A film this big and sweeping needs an anchor, and these two do quite nicely.
It also gave us a heartsick Nicholson, a lady killer on-screen and off, crying over a girl for a change. We can never forgive the Sex and the City movies for what they did to Stanford and Anthony. Enter Kissing Jessica Stein, which even 16 years later remains one of the few mainstream, widely distributed romantic comedies to focus on same-sex attraction—and between queer women, no less, who are even tougher to find in these sorts of movies than queer men.
The heroine with a job in New York media!
Only in the rom-com to end all rom-coms would you have leads named Andie Anderson and Benjamin Barry. He, meanwhile, is simply trying to prove he can make any woman fall in love with him.
Kate Hudson and Matthew McConaughey sold their characters with wit and panache—throwing themselves into the roles completely, but delivering certain lines with just a whiff of irony. What to do about Annie Hall, an indisputable masterpiece whose reputation has arguably been overshadowed by the troubling allegations lobbed against its writer, director, and star nearly two decades after its release? On separate occasions, Diane Keaton, delivering her signature performance, gets to be both. Even so, the film has a certain magic to it—a wistful sweetness underpinning its remarkably quotable jokes, rounding out what could have been an episodic collection of very good punch lines.
Emma Thompson! Denzel Washington! Keanu Reeves! Michael Keaton! Kate Beckinsale! Robert Sean Leonard! The cast alone is worth much ado—and in execution, too, this production also directed and scripted by Branagh sings. In the ever-sparring Beatrice and Benedick, whose sexual tension is only heightened by their equally sharp tongues, Shakespeare created an archetypal couple whose bantering dynamic would inspire countless imitators and descendants—and Thompson and Branagh embody the lovers beautifully, imbuing centuries-old characters with modern wit and charm.
A more recent adaptation—the version directed by Joss Whedon —is also worth a look for rom-com historians.
Kissing someone on the eyelids never looked so romantic. Is The Apartment even really a romantic comedy? I guess the term we use nowadays for a guy like C. One of the brilliant things about The Apartment —especially now, with our new sensitivity to workplace harassment and the bad behavior of men in power—is that even from the vantage of , the movie knew just how transactional sex and romance could be, sometimes willingly and often not.digrehycamil.ml
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Austin Collins. Instead of one marriage, there are a whole slew of them. A fairly central character is killed off precipitating the funeral of the title.
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