Don't Go Breaking My Heart (1999)

I am not fan of romantic comedies. but "Do not go breaking my heart" is more than a romantic comedy. it is a smart, seductive, little bitter, refreshing, generous, sensitive, touching and example of beautiful humor film. remembering Woody Allen films, it has, as the first virtue, the right cast. Jenny Seagrove escapes from the frame of Barbara Taylor Bradford adaptations and gives a great character. Anthony Edwards is far by other roles - the mark of ER is the most heavy - for do the ordinary guy who becomes the best choice for a single mother. and Charles Dance is the inspired choice for a role who represents the basic spice of story. a soup for soul is one of good definitions for this film. and that could be a virtue . because, among the films from the same genre, it is not only different but real charming.

What a dire film this is. Just terrible. Its a typicaly modern British film with terrible photography, lame use of music and zero charm.What was Anthony Edwards and Linford Cjristie thinking. Please don't ever, ever, ever do anything like this again. 2 out of ten tops.

Last night I had a flashback -- to a scene in a film in which a woman was hypnotised into liking "the Beach Boys" -- only it went horribly wrong and she ended up loving "the Bitch Boys". For some reason, I couldn't remember the name of this film, or anything else about it. In the end, I had to call up a friend, and he couldn't remember either. After half an hour of searching IMDB, we found this.The reason, my friends, why neither of us could remember what this film was called was because it was so dire that we had erased it from our collective minds: utterly trite, poorly directed low-budget chick flick rubbish, this film set an all time low in the 'romantic comedy' genre -- and I've seen "You've got Mail" AND "She's all that".In fact, if memory serves me correctly, it was the same girl who dragged myself and my friends along to see these aforementioned films as well, and my only advice to you as a reader of this review is to stay away from this utter stinker of a romantic comedy, unless you're a teenage girl with completely stereotypical delusions about 'ideal' relationships. Having an IQ of below 50 would probably also help, after all, it's the only way you're not going to see this ending coming.On a brighter note, I also remembered how I got that scar on my left arm -- I remember now that this film was so dire the only way I avoided an excruciating death by boredom was chewing into my own arm for something interesting to do. Avoid this one: it's that bad, folks.

This is a slushie, a moving Mills & Boone. You could just as easily call it moving wallpaper. It passes a couple of hours and it doesn't offend anyone. Jenny Seagrove acts woodenly, a Lada of femmes-fatales, while Anthony Edwards strolls through the film in an apologetic decaffeinated sort of a way, looking out-of-synch with his English surroundings and upper middle class hinglish. He delivers such an uncommanding screen presence in this big-screen film that I question his wisdom in giving up his day job on Channel 4's "ER"."Us Begins with You" is the American title. Quite clever, eh? For a moment or so. The British title is better. But it too means nothing, and tells you even less about the film. So what's it all about? Jenny Seagrove is a widow running her husband's gardening business. She's happy with her widowhood, keeps busy with the family gardening business and isn't looking for a replacement hubby. Young son is unhappy, misses dad, is under-achieving at boarding school. Jenny's friends are trying to fix her up with a fella in the shape of Charles Dance, a dentist. He does the dirty by hypnotising her in his dentists chair, aiming to make her receptive to his charms. Coincidence, and film scrptwriters, get in the way of his evil plans. Up turns Anthony Edwards, sports psychologist, who has just lost his job training Linford Christie. Honest! Can it get any worse? You betcha. The film lasts just under two hours. Surprisingly, I wasn't bored by it. There are a few funny moments and some effective one-liners. Linda Bellingham is as delicious as ever and, along with Tom Conti, steals scenes and demonstrates to the others how it can be done. I was all the while bemused that so much effort could go into making a film that has so little impact and one which will leave no ripples in that sea of celluloid that flows our way from the distributors. No Oscars here. The ladies in the audience loved it and giggled at the naughty bits such as when the backdrop to a conversation was a diagram of female reproductive organs. Such subtlety. And these same women obligingly shed a tear in auto-response to the director's synthetic massaging of the audience's emotions. I cried too but for a different reason. Four out of ten.C U James