The author's analogy at the end is a little crass, but otherwise, agreed!
"The problem, rather, is the patterns that emerge when you consider the film as a whole. One subplot about an older man wooing a much-younger subordinate? Fine. But three? And on it goes: not one, but two gags (three, if you count the Colin subplot) about how the only possible way a man could overcome heartbreak is with the assistance of one or more supermodels; two storylines in which women (never men) see their romantic lives shattered by obstacles that ought to be surmountable; and, most important, upwards of half a dozen subplots in which characters go directly from initial physical infatuation to (presumed) happily-ever-afters, without remotely bothering to get to know one another in between. These repeated themes are not coincidental."
And from his original article: "it is emphatically, almost shockingly, anti-romantic."
- Cranketrice
"The problem, rather, is the patterns that emerge when you consider the film as a whole. One subplot about an older man wooing a much-younger subordinate? Fine. But three? And on it goes: not one, but two gags (three, if you count the Colin subplot) about how the only possible way a man could overcome heartbreak is with the assistance of one or more supermodels; two storylines in which women (never men) see their romantic lives shattered by obstacles that ought to be surmountable; and, most important, upwards of half a dozen subplots in which characters go directly from initial physical infatuation to (presumed) happily-ever-afters, without remotely bothering to get to know one another in between. These repeated themes are not coincidental."
And from his original article: "it is emphatically, almost shockingly, anti-romantic."
- Cranketrice
