Down with Love (2003)
Directed by Peyton Reed
In 1962 New York City, love blossoms between a playboy journalist and a feminist advice author.
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What critics compared Down with Love to
Wright’s cast remained, but he was replaced with Peyton Reed (Bring it On, Down with Love), a competent if less-than-distinctive substitution who was then forced to cobble together a summer tentpole from a combination of Wright’s not-totally-discarded screenplay and concepts, and his own new material.
To showcase Scott in action, director Peyton Reed ( Bring It On , Down with Love , and a few other movies machismo prevents you from liking) shrinks down to the hero's level.
The replacement director is Peyton Reed, who normally makes comedies, including the brightly-colored Doris Day tribute, Down with Love .
First-time action director Peyton Reed ( Yes Man , Bring It On ) recaptures some of the style and charm that qualified his Down with Love as an underrated pastiche of the waning days of Hollywood's golden age.
Yet that lack of an emotional center feels less frustrating when director Peyton Reed (Down With Love) kicks the action into gear.
More conventional than one might have hoped for from the collaboration of Rudd and director Peyton Reed (“Down with Love”), and marred by a few serious misjudgments (must each of Ant-Man’s three comic-relief heist collaborators represent an ethnic stereotype?), the movie recovers its footing where most Marvel epics flounder: Reed transforms the climactic hero-vs.-villain…
The drab production lacks the cheeky exuberance of director Peyton Reed’s cheerleading flick Bring it On and the stylistic vibrancy of Down with Love, his homage to pillow-talk romantic comedies of the late ’50s and early ’60s.
Director Peyton Reed, who in the past has brought interesting slants to established genres (the breezy Rock Hudson/Doris Day homage Down With Love being an example), holds Carrey on a tight leash for the opening section of the film then abruptly chooses to ditch myopic Carl to suit Carrey's patented brand of screen lunacy.
Reed's "Down With Love," a careful homage to Rock-and-Doris comedies, showed a careful eye, if not an abundance of wit; his follow-up, "The Break-Up," was, amazingly, both funny and adult.
Director Peyton Reed ("Down with Love," "The Break-Up") manages a huge cast and a plethora of locations and events with seeming ease, connecting the dots that tie a Korean lesson with wedding planning and, later, match making.
He is ably aided by director Peyton Reed, who has demonstrated a deft hand with music-drenched comedy in the films Bring It On, Down With Love and The Break-Up.
“Yes Man” coasts for a while on the appeal of those three and on the visual pizazz supplied by director Peyton Reed (“Down With Love”), but the middle of the movie — the hour or so during which Carrey says “yes” to everything and gets into scrapes as a result — is repetitive and not very funny.
Its most exciting element is the gorgeous period pizazz of Martin Whist’s production design, creating a fancy-chintz world like a mean older sibling of his work on Down With Love.
…by Walter Chaw Damien Chazelle's La La Land is sort of like Down With Love and also sort of like The Umbrellas of Cherbourg, derivative in the way that things are derivative when they have no real knowledge of or even maybe affection for the things from which they ostensibly derive.
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Wasn’t this the plot of Down With Love ?
Myer is sent to Section 51 and enters a chamber that looks preserved from the 1940's, all except for the wall enclosing a tank which houses Abe Sapien (Doug Jones, "Mimic," voice of David Hyde Pierce, "Down with Love"), a Mer-man who demands that the pages of multiple books be turned.