Marry Me (2022)
Directed by Kat Coiro
After finding out about her fiancé's cheating ways, a pop superstar impulsively marries a total stranger. They must soon decide if two people from such different worlds can find true love.
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7 films that influenced Marry Me
What critics say influenced Marry Me
Such is the wackadoodle premise of this movie, which is based on a graphic novel but also recalls the turn-of-the-century rom-com Notting Hill , in which megastar Anna Scott (Julia Roberts) falls for shambolic, stuttering bookshop owner William Thacker (Hugh Grant).
It is the most movie rom-com set up that’s ever existed, and this is a movie that wears its love for the genre on its sleeve with knowing references to everything from “Pretty Woman” to “Notting Hill.”
Bound for theaters and Peacock in time for Valentine’s Day and borrowing from “Roman Holiday” and “Notting Hill,” the pop music-fueled romantic comedy has a very famous woman becoming romantically entangled with an ordinary Joe.
I suppose this isn’t too far-fetched, Notting Hill (1999) pretty much did the same thing.
And given that Owen Wilson is basically the American Hugh Grant, it makes sense that he’d eventually lead a Notting Hill -style romance—one that lets Lopez winkingly riff on her own celebrity persona just as Julia Roberts did in that 1999 Richard Curtis classic.
Out of the rom-com genre, that includes anything by Nora Ephron as well as Notting Hill by Roger Michell.
It is the most movie rom-com set up that’s ever existed, and this is a movie that wears its love for the genre on its sleeve with knowing references to everything from “Pretty Woman” to “Notting Hill.”
The form enjoyed a cultural resurgence starting in 1989 and ’90, with the release of “When Harry Met Sally” and “Pretty Woman.”
There’s an unexpected embarrassment of streaming riches this week, including two promising releases that arrived without fanfare and that I’ll get around to next week: A new Steven Soderbergh film, “Kimi,” on HBO Max and something genuinely strange on Netflix called “Bigbug” from “Amelie” director Jean-Pierre Jeunet.
This long-on-the-shelf follow-up to 2017’s “Murder on the Orient Express” lacks a blazing star turn like Michelle Pfeiffer’s in the earlier film, but it surrounds Branagh and his baroque mustache with a large and glamorous cast, freshly diversified as is the practice and, in a few cases, somewhat past their sell-by date.
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Meanwhile, an undercurrent of sexier ( Friends With Benefits ), more self-aware ( (500) Days of Summer ), or more grounded ( The Big Sick ) movies made the old formulas look calcified.
You had your journalists sidling up to their eventual objects of affections under false pretenses ( 27 Dresses , How to Lose a Guy in 10 Days ), and your foes forced to work together ( Two Weeks Notice , The Ugly Truth ), and your smorgasbord of stars doing holiday stuff over the course of minimal shooting days ( Valentine’s Day , New Year’s Eve ).
You had your journalists sidling up to their eventual objects of affections under false pretenses ( 27 Dresses , How to Lose a Guy in 10 Days ), and your foes forced to work together ( Two Weeks Notice , The Ugly Truth ), and your smorgasbord of stars doing holiday stuff over the course of minimal shooting days ( Valentine’s Day , New Year’s Eve ).