Hernán Jiménez
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Connections, in both directions
Although it sounds like the name of the best Leslie Nielsen parody never made, “Love Hard” actually refers to the two most controversial works of Jesus-adjacent art since Andres Serrano’s 1987 “Piss Christ,” by which of course I mean “Love, Actually” and “Die Hard.”
It’s a message reinforced throughout the movie, including with a derisive comment describing “Love Actually” as “a movie about people falling in love based on how they look.”
Ironically, this film spends so much of its energy dissing Love Actually just to use the iconic (and yes, deeply problematic) sign confession to win us over.
The title — “Love Hard” — is a mashup of “Die Hard” and “Love Actually,” clashing visions visions of “the Best Christmas Movie Ever.”
When Natalie decides to fly to Lake Placid and surprise her new crush for Christmas, her editor (Matty Finochio) licks his lips at the potential pageviews that a column about the trip might inspire; that hunger for content is the only semi-realistic aspect of a workplace that so hilariously glamorizes modern journalism it makes “Sex and the City” look like “All the President’s Men.”