Now Love Actually
certainly fits the mold of these other types of films (the movie seems keen on
having almost every famous British actor make an appearance). However, it’s much
better than its counterparts. Certainly many of the storylines are fairly
predictable and even at times clichéd. But there remains an undeniable charm to
the film even as it becomes increasingly obvious what’s going to end up
happening to everyone.
Part of this credit has to be given to writer/director
Richard Curtis. Curtis’s filmography includes memorable British flicks such as Four Weddings and a Funeral and Bridget Jones’s Diary. Much of Love Actually’s DNA can be seen in these
two movies; they’re both films that are for the most part not spectacular or particularly
noteworthy. But that’s not to say they’re not good; in fact, they’re smart,
funny, charming, well-crafted films that rise above their occasional
formulaicness through deft direction, solid scripts, and nice acting.
Love Actually is a
holiday movie in the best sense of the term. It uses the gateway of goodwill
from pre-existing notions of holiday cheer to get us invested in its various
storylines. On the strengths and likability of its casts, and the sheer
goodwill its builds over the course of the film through its cast and the
exuberance of the holiday spirit, it makes us really like the movie despite how
frequently overstuffed and formulaic it may be. Though a number of cast members
are underserviced or underutilized, and as sad as it is to see Andrew Lincoln,
Emma Thompson, and Laura Linney get their hearts broken, it’s hard not to be
smiling, laughing, even sometimes tearing up, but at least never being bored or
disappointed.
Grade: B
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