Adam Brooks
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Connections, in both directions
Writer and director Adam Brooks (who surely owes the world penance for co-writing the screenplay for "Bridget Jones: The Edge of Reason" ) also borrows freely, nay, sluttishly, from a passel of other sources: The setup is straight out of "How I Met Your Mother," there's a bedtime story, complete with narrative interruptions, lifted from "The Princess Bride," an "I want to wake up next to you" speech reminiscent of "When Harry Met Sally," a quest for a far-flung used book that echoes the basic plot of "Serendipity."
Just as much as "Definitely, Maybe" is a story of romantic love, it's a story of father-daughter love, as a 10-year-old girl -- in an envelope story that recalls "The Princess Bride, " minus the protestations over the mushy parts -- pesters her soon-to-be-divorced dad into telling the story of how he met her mother.
Which means that within the first ten minutes of the film, it’s already ripping off both “How I Met Your Mother” and “The Princess Bride.”
Depressing meets alarming when he finds out his ten-year-old daughter (Abigail Breslin from “Little Miss Sunshine”) has just had sex education in school.
And yes, Breslin, the little miss of Little Miss Sunshine, is alarmingly cute - but she backs the cuteness up with serious acting instincts.
Will's daughter Maya (young Abigail Breslin of "Little Miss Sunshine"), is spending the night with him.
That's part of what makes the pleasant-surprise romantic comedy " Definitely, Maybe , " starring Ryan Reynolds ("Smokin' Aces") and Abigail Breslin ("Little Miss Sunshine"), such a welcome Valentine's Day flick.
Im not surprised about the quality of performances here, for Reynolds ( The Amityville Horror ) gets better with each movie, Fisher proved her star potential in Wedding Crashers , and Breslin -- even at her young age -- already earned an Oscar nomination for her terrific acting in Little Miss Sunshine .
And what age of temerity must we live in, she wondered, when it's okay to sling references to vintage Woody Allen in the same breath as a vehicle for Van Wilder and the screechy-bopper from Little Miss Sunshine?
It employs the female lead and the soundtrack artist from “About a Boy,” whose hero was also named Will, and even borrows the look of the poster for “Love, Actually.”
The film is the latest from England's Working Title production studio, the clever chaps who gave us "Four Weddings and a Funeral," "About a Boy," "Love, Actually" and several Coen brothers films.
And if Brooks' attempts to replicate the magic of "About a Boy" weren't obvious by the end credits, the Badly Drawn Boy song will drive the point home.
It employs the female lead and the soundtrack artist from “About a Boy,” whose hero was also named Will, and even borrows the look of the poster for “Love, Actually.”
Though falling a good bit short of the best of the Working Title-produced romantic comedies—like Bridget Jones’s Diary (2001), About a Boy (2002) and Love Actually (2003)—Adam Brooks’ Definitely, Maybe marks a notable improvement over the company’s last two efforts, Wimbledon and Bridget Jones: The Edge of Reason (both 2004).
The film is the latest from England's Working Title production studio, the clever chaps who gave us "Four Weddings and a Funeral," "About a Boy," "Love, Actually" and several Coen brothers films.
CHICAGO – The makers of “Love Actually” and “Notting Hill” know how to do romantic comedy that doesn’t somehow fall into the trap of a formulaic chick flick like “27 Dresses”.
Writer-director Adam Brooks (who also wrote the excellent Meg Ryan-Kevin Kline comedy “French Kiss”), perhaps borrowing from TV’s “How I Met Your Mother,” solves the chief problem of a dating movie: you always know that the two top-billed actors will stroll off together, with only the how and the jokes in doubt.
The human being behind Definitely, Maybe is Adam Brooks, whose previous scripts (Bridget Jones: The Edge of Reason, Wimbledon, French Kiss) showed a bent for chick-flick insouciance, and who here takes on the added task of director.
After all, he previously wrote the screenplay for two romcoms I also enjoyed: Bridget Jones: The Edge of Reason and French Kiss.
Brooks can be credited for “French Kiss” and “Practical Magic” and blamed for “Wimbledon” and “Bridget Jones: The Edge of Reason”.
In supporting roles, Kevin Kline and Derek Luke ( Antwone Fisher ) are hilarious and dead-on, respectively.
Writer-director Adam Brooks is trying for a "Broadcast News"-style scenario in which personal crackups occur against a highly public backdrop.
The human being behind Definitely, Maybe is Adam Brooks, whose previous scripts (Bridget Jones: The Edge of Reason, Wimbledon, French Kiss) showed a bent for chick-flick insouciance, and who here takes on the added task of director.
Though falling a good bit short of the best of the Working Title-produced romantic comedies—like Bridget Jones’s Diary (2001), About a Boy (2002) and Love Actually (2003)—Adam Brooks’ Definitely, Maybe marks a notable improvement over the company’s last two efforts, Wimbledon and Bridget Jones: The Edge of Reason (both 2004).
Because you just never know where the next amazing one is going to come from, and sometimes it’s even better when they come from a quarter that floors you, like from Adam Brooks, who adapted and directed the very intriguing and little-seen The Invisible Circus in 2001 but who has also written some less than satisfying romantic dramedies such as Wimbledon and Practical Magic .
Perhaps this is due to filmmaker Adam Brooks , who is not a bar-coded Hollywood drone, but an idiosyncratic filmmaker ("The Invisible Circus") who's been making some scratch in recent years writing such enjoyable mainstream fare as "Wimbledon" and the "Bridget Jones" sequel.
For writer/director Adam Brooks (who previously scripted the underrated Wimbledon ), the ambitious result is not without flaws but, on the whole, it is a success.
Writer/director Adam Brooks ("The Invisible Circus," "Wimbledon") looks to have a Valentine's hit on his hands with a vehicle obviously meant as a breakthrough for star Reynolds, but while "Definitely, Maybe" is definitely a cut above the usual February fodder, it maybe feels too second hand with roots in everything from "The Princess Bride's" bedtime story structure to television's "How I Met Your Mother's" teasing central concept.
Bridget Jones: The Edge of Reason (2004)
Directed by Beeban Kidron
influenced Definitely, Maybe (2008)
Writer and director Adam Brooks (who surely owes the world penance for co-writing the screenplay for "Bridget Jones: The Edge of Reason" ) also borrows freely, nay, sluttishly, from a passel of other sources: The setup is straight out of "How I Met Your Mother," there's a bedtime story, complete with narrative interruptions, lifted from "The Princess Bride," an "I want to wake up next to you" speech reminiscent of "When Harry Met Sally," a quest for a far-flung used book that echoes the basic plot of "Serendipity."
The human being behind Definitely, Maybe is Adam Brooks, whose previous scripts (Bridget Jones: The Edge of Reason, Wimbledon, French Kiss) showed a bent for chick-flick insouciance, and who here takes on the added task of director.
Though falling a good bit short of the best of the Working Title-produced romantic comedies—like Bridget Jones’s Diary (2001), About a Boy (2002) and Love Actually (2003)—Adam Brooks’ Definitely, Maybe marks a notable improvement over the company’s last two efforts, Wimbledon and Bridget Jones: The Edge of Reason (both 2004).
In tone, writer-director Adam Brooks ("Bridget Jones: The Edge of Reason") has constructed a warm and funny story that feels like the Jim-Pam romance from NBC's "The Office" writ large.
After all, he previously wrote the screenplay for two romcoms I also enjoyed: Bridget Jones: The Edge of Reason and French Kiss.
Brooks can be credited for “French Kiss” and “Practical Magic” and blamed for “Wimbledon” and “Bridget Jones: The Edge of Reason”.
It’s cheeky about using Upper West Side locations as in “You’ve Got Mail.”
And while the off-beat structure does set Definitely, Maybe apart from other romantic comedies (A Lot Like Love, the 2005 Ashton Kutcher/Amanda Peet romance, being one notable exception), Brooks' mid-movie use of a fairly hackneyed plot device ensures that most viewers will be able to figure out the identity of Will's ultimate choice far sooner than one might've liked.
She almost choked on her Cheetohs when the announcer declared Definitely, Maybe to be "the funniest romantic comedy since Annie Hall."
Though falling a good bit short of the best of the Working Title-produced romantic comedies—like Bridget Jones’s Diary (2001), About a Boy (2002) and Love Actually (2003)—Adam Brooks’ Definitely, Maybe marks a notable improvement over the company’s last two efforts, Wimbledon and Bridget Jones: The Edge of Reason (both 2004).
The film is the latest from England's Working Title production studio, the clever chaps who gave us "Four Weddings and a Funeral," "About a Boy," "Love, Actually" and several Coen brothers films.
When he isn’t drunk-dialing Emily, the girl back in Wisconsin he intends to marry (Elizabeth Banks, who should be better known), he strikes up a friendship with another Clinton volunteer named April (Isla Fisher from “Wedding Crashers,” who is about ten seconds away from being a major star), and the two share a smoking scene that’s so sexy it could have been shot in 1940.
However, the stories of the three women—Emily (Elizabeth Banks, Fred Claus), April (Isla Fisher, Wedding Crashers) and Summer (Rachel Weisz)—are clever, charming and nicely put together.
Two of the three women earn stripes: Rachel Weisz is a sophisticated, career-building writer; and Isla Fischer ("Wedding Crashers") is a free-spirit romantic.
Im not surprised about the quality of performances here, for Reynolds ( The Amityville Horror ) gets better with each movie, Fisher proved her star potential in Wedding Crashers , and Breslin -- even at her young age -- already earned an Oscar nomination for her terrific acting in Little Miss Sunshine .
Isla Fisher from “Wedding Crashers” sparkles in every one of her scenes.
Fisher ( Wedding Crashers ), especially, shines as multi-layered, complicated NYC-girl-next-door April.
Because you just never know where the next amazing one is going to come from, and sometimes it’s even better when they come from a quarter that floors you, like from Adam Brooks, who adapted and directed the very intriguing and little-seen The Invisible Circus in 2001 but who has also written some less than satisfying romantic dramedies such as Wimbledon and Practical Magic .
Brooks can be credited for “French Kiss” and “Practical Magic” and blamed for “Wimbledon” and “Bridget Jones: The Edge of Reason”.