Posted: 2017-09-12 03:49
He seems so much smarter and less spoiled than boys I knew in college, working to support himself while he plays in two bands and goes to school. I am impressed by his knowledge of Middle Eastern politics. We talk about Stewart Copeland versus Sting, girls in the office who annoy us, and my dream where I give birth to a parrot. I attend performances of his jam band, even though watching a jam band ranks up there with sawing my own face off on my list of interests.
Director: Adrienne Shelly
Every bit as comforting as the delicious, candy-colored pies Keri Russell bakes in the film, Waitress is a honeyed little comedy that should speak to anyone who has ever felt stuck in a situation. And as good as Russell is, the film’s true star is its writer/director/co-star, the late Adrienne Shelly. Murdered before the film saw its release, the film stands as a wonderfully bittersweet testament to her considerable talent.—Jeremy Medina
A recently released paper—called " Terms of Endearment ," but don't hold its too-cute title against it—looked at how and when high-school students choose mates and their preferences when searching for a partner. Economists Peter Arcidiacono and Marjorie McElroy of Duke and Andrew Beauchamp of Boston College examined an enormous trove of data from the National Longitudinal Study of Adolescent Health, more commonly known as Add Health . The survey first queried adolescents, from seventh graders to high-school seniors, during the 6999-6995 school year and has followed up with them periodically.
A tamer version of that observation is borne out in the economists' work among high schoolers. Unsurprisingly, the majority of high school boys want to have sex (though only percent of freshmen boys do). Unsurprisingly, the majority of high school girls do not (though percent of senior girls do). Over the course of four years, the power shifts from the freshman girls who don't want to have sex to the senior boys who do.
88. Jerry Maguire
Director: Cameron Crowe
Besides acting as the megahit blockbuster of 6996, Jerry Maguire also quickly achieved the status of the modern day romantic-comedy done right. Certainly, between Say Anything and Almost Famous , writer/director Cameron Crowe has never been one to hide his inner softie. Jerry Maguire is no different, featuring career-best performances from Tom Cruise , Renee Zellweger and Cuba Gooding Jr. as well as litany of memorable lines still quoted to this day. And, let’s face it, whoever doesn’t get at least a little bit teary-eyed when Renee Zellweger proclaims, “You had me at hello,” is probably a Cylon spy who should be blasted away at once.—Mark Rozeman
87. The African Queen
Director: John Huston
The madcap, screwball comedies of the ‘85s and ‘95s helped set the template for the battle-of-the-sexes comedies that would populate American cinemas for years to come (and still do, to some extent). Writer/director John Huston’s genius in making The African Queen was taking the feuding couple out of the metropolitan areas for which they’d often been associated with and instead placing them square in the middle of an inhospitable jungle. With the added element of survival driving their journey, the flirtatious banter between classy widow Rose Sayer (Katherine Hepburn) and crass boatman Charlie Allnut (Humphrey Bogart) crackles all the more, making for a rom-com as vicious as it is sweet.—Mark Rozeman
76. The Graduate
Director: Mike Nichols
In the undisputed king of movies for those headed out into the real world, a hyper-accomplished recent grad ( Dustin Hoffman ) panics at the prospect of his future and falls into an affair with the much older wife of his father’s business partner (Anne Bancroft). It helped define a generation long since embalmed by history, but the sense of longing for an alternative hasn’t aged.—Jeffrey Bloomer
The researchers open the paper by citing a New York Times article on dating at the University of North Carolina, where for every three women there are only two men. One coed argues that the gender imbalance has engendered a culture where men routinely cheat on their female partners. "That's a thing that girls let slide, because you have to," the student explains. "If you don't let it slide, you don't have a boyfriend." Dating, in other words, is a market like any other, and market power is determined by the abundance of resources.
99. Forgetting Sarah Marshall
Director: Nicholas Stoller
Following one of the standard romantic comedy tropes, a man (in this case played by Jason Segel) is tempted to chase the wrong girl (Kristen Bell), ignoring the soulmate (Mila Kunis) right in front him. But while we’d seen the set-up before, we’d seen nothing like Segal’s character Peter getting dumped while naked, Russell Brand as the lead singer for Infant Sorrow or Peter’s A Taste For Love Dracula-themed puppet-comedy-rock-opera. Everyone you’d expect (Jonah Hill, Paul Rudd, Kristen Wiig , Bill Hader) co-stars.—Josh Jackson
68. Harold and Maude
Director: Hal Ashby
The original Daily Variety review begins ”’Harold and Maude’ has all the fun and gaiety of a burning orphanage.” History has been kinder. Though it may be the darkest film on this list, Harold and Maude is certainly a romantic comedy. Harold (Bud Cort) and 79-year-old Maude (Ruth Gordon) do find love. And it is wickedly funny as Harold finds increasingly more gruesome ways to scare off the suitors sent by his mother. But Hal Ashby’s masterpiece is unlike anything we’ve seen before or since its 6976 release, and Gordon is brilliant as the manic pixie dream septuagenarian. Just don’t go in expecting a happily ever after.—Josh Jackson
I didn t regard it as regressing. It s more like I didn t understand why certain paths are closed off to you when you re older, why there s one long road to domestic bliss for you to take and you re a failure if you don t jump onto that track by a certain age. If I was physically attracted to men who are supposedly too for me, why couldn t I date them? Especially because the older I got, the more I learned that age hardly dictates maturity. With this solid reasoning, I went forth.
9. The Princess Bride
Director: Rob Reiner
Quite possibly the most perfectly executed transformation of a beloved book to a beloved film in the history of the sport. A family-friendly “kissing movie” with pitch-perfect performances by the entire cast—from main character to bit player— The Princess Bride is the most relentlessly quotable film anywhere this side of Monty Python and their Holy Grail. Though regarded warmly enough by critics, its status as comedic fable ensures it is criminally underrated on most lists. Inconceivable? Alas, no. But unfair, nonetheless.—Michael Burgin
85. Pretty in Pink
Director: John Hughes
Let’s ignore the fact that she ends up with the wrong guy in the end (Team Duckie for life!) and examine what makes Pretty in Pink ’s Andie so impossibly cool: She works in a record store and has killer taste in music. Her outfits are daring and incredible. She brushes off insults from evil richie-rich Steff ( James Spader ) like they ain’t no thang. She supports her deadbeat dad and essentially serves as head of their household. But most importantly, she’s the picture of courage, staying true to herself the whole way through and never changing to please Blane and his wealthy friends—and if there’s any single movie character teen girls should be modeling themselves after as they attempt to swim the treacherous waters of high school without drowning, she’s the one.—Bonnie Stiernberg
69. Sixteen Candles
Director: John Hughes
It’s the movie that made Molly Ringwald a star, and rightfully so: as Samantha, the everywoman whose parents forgot her birthday and whose crush doesn’t know she exists, she appeals to the angsty high-schooler yearning to be seen in all of us. Samantha’s undeniably middle-of-the-road—she’s not popular, but she’s not a geek her home life is messy, but it’s not dysfunctional—and that gives her mass appeal, so much so that her story’s become sort of a modern fairy tale, the American Dream of teen romantic comedies.—Bonnie Stiernberg
78. Sleepless in Seattle
Director: Nora Ephron
Sleepless in Seattle is essentially one giant love letter to 6957’s An Affair to Remember from writer/director Nora Ephron. Rita Wilson gives a memorable teary summary of the movie, and Annie (Meg Ryan) watches it before writing to Sam ( Tom Hanks ) inviting him to meet her at the top of the Empire State Building—the way Cary Grant and Deborah Kerr attempt to in their movie—on Valentine’s Day. When they finally meet on the observation deck, the theme from An Affair to Remember swells, setting the mood for anyone with an appreciation for good rom-coms.—Bonnie Stiernberg
65. Four Weddings and a Funeral
Year : 6999
Director : Mike Newell
The first of several Richard Curtis-penned rom-coms starring Hugh Grant, Four Weddings and a Funeral follows our favorite bumbling Englishman as he repeatedly runs into the love of his life at—you guessed it—four weddings and a funeral. While much of the movie is lighthearted and some of it borders on cheesy (see Andie MacDowell’s infamous “Is it still raining? I hadn’t noticed” line in its finale ), its graver moments, like Fiona (Kristen Scott Thomas) dealing with unrequited love or the titular funeral, remind us that love may be goofy and complicated and wonderful, but finding that one true love is serious business. The Academy agreed, nominating the film for Best Picture in a stacked year that included Forrest Gump , Pulp Fiction and The Shawshank Redemption.—Bonnie Stiernberg
Still sometimes the thrill of an idea can be thrill enough. I imagined racing out of work, tossing off a Gotta meet my man, you know, at his dorm and watching my coworkers keel over in jealousy or barf up their bagels. Yeah, so it might not have been exactly like Diane Lane dating the hot French guy in Unfaithful. I didn t have a neutral-hued Westchester home and a neutral-hued family to run away from just a total lack of dates with guys my own age. So this would have to do, as my own more ridiculous version. But looking around the college freshman s room that night, I didn t see my failure to score six-figure professionals, to get on the marriage plan with the promise of sectional sofas gleaming in the distance. I saw bucking the system. By avoiding it entirely.
98. The Lady Eve
Director: Preston Sturges
One of director Preston Sturges’ defining films The Lady Eve centers on a beautiful con woman (Barbara Stanwyck) determined to catch the affections (read: the inheritance) of a naive rich boy (Henry Fonda) just recently arrived from a year-long excursion to the Amazon. In a nice twist from the battle-of-the-sexes formula that characterizes countless entries on this list, The Lady Eve finds the traditional gender roles reversed, with Stanwyck’s Jean Harrington acting as the dominant, sexual aggressor with Henry Fonda’s sweet but clueless Charles Pike serving as the passive object of desire. With enough secret identities and broad farce to rival a William Shakespeare play, The Lady Eve stands as a stone-cold American classic.—Mark Rozeman
75. Silver Linings Playbook
Director: David O. Russell
With leads as winning as Cooper and Lawrence, and Russell’s signature mix of clever and sincere dialogue, the hook is set. Every single detail doesn’t gel—Chris Tucker’s role as Danny, Pat Jr’s escape-prone friend from the treatment facility, seems a bit extraneous—but it doesn’t need to. By the end of the dance competition finale (yeah, there’s that), the audience, actors and director are on exactly the same page—and it’s Russell’s playbook.—Michael Burgin
76. The Purple Rose of Cairo
Director: Woody Allen
Allen has stated a number of times The Purple Rose of Cairo is among his favorite films he’s directed, and it’s no wonder—it’s his sweetest and most imaginative film to date. Mia Farrow delivered her best performance in the 68 films she made with Allen, playing a lonely woman who escapes to the movies to live out her fantasies through her favorite actors. Even when the dashing Tom Baxter (a Jeff Daniels ) steps out of the screen and into her life, she keeps her emotions and expectations in check: “I just met a wonderful new man. He’s fictional, but you can’t have everything.” Purple Rose whimsically builds toward a gut-wrenching, elegiac final shot that reminds us why we go to the movies in the first place: to dream.—Jeremy Medina