To provide an air of credibility, the film hired former pro and veteran analyst Brad Gilbert to consult on the film and to train Zendaya for three months; Guadagnino says she got so good he barely had to use her tennis stunt double in the film.
While the film devotes 20 minutes to the match, it fails to do the tiebreaker justice. It does show dynamite points like McEnroe nailing a leaping backhand volley off a Borg lob, or Borg whipping a passing shot down the line. While the scenes can appear like actors doing impressions of the players in between their tennis doubles hitting the real shots, the rallies have an air of authenticity. But as tension mounts, director Janus Metz Pedersen loses interest in the tennis itself, shifting to close-ups to show emotional and physical strain along with montages that feel cliche.
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And in the final match at the end between 14-year-old Venus and Arantxa Sanchez-Vicario, he repeatedly mixed in mid-range shots with long shots while giving the points time to build dramatically as they would in a real tennis match. While the teen loses that match, it is fitting that when it comes to tennis movies, the undeniable champ features the unsurpassable Williams sisters.
You are left to wonder: which permutation is the right one? Should Tashi be with Patrick? Should Patrick be with Art? Should they just love all? As the final match escalates, the camera gets deliberately more
chaotic, switching from relatively sedate wide shots of the court to the lurching point-of-view of the striving players. Finally it becomes the ball itself, spinning crazily between Art and Patrick. It is disquieting and feels dangerous but exhilarating, much like the film itself. Wimbledon this year might end up feeling a little humdrum.
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For me, the most challenging part of filmmaking is stopping. There comes a time when you have to leave the edit alone, and stop tweaking the comps, and be satisfied with the colour, and just enjoy the music and the soundmix, and just stop. Let it be. I love to fiddle and tweak and play and improve and adjust and correct and.... I have to just stop. Usually that means getting on and making something new... but I have been known to go back to a film years later and play with it some more...
The Butcher Boy. Harrowing, moving, brilliantly told story. Amazing performance by the young lead. And Sinead O'Connor as Virgin Mary!
Cloud Atlas. Much maligned but I thought it was a triumph. A film of truly epic proportions that had me entranced for every minute of it's almost three hours. Hale Berry in the performance of a lifetime.
Moon. Watch it. Just watch it. Then watch it again. Pure storytelling, one of the best bit of acting you will ever see (Sam Rockwell). If you haven't seen it... just watch it.
The Perfect Match is a 2016 American romantic comedy film directed by Bille Woodruff. The film was written by Dana Verde, Brandon Broussard and Gary Hardwick and stars Terrence J, Cassie Ventura, Lauren London and Paula Patton. It was released on March 11, 2016.
Charlie is a playboy who's convinced that relationships are dead even though his sister, a therapist, tries to tell him otherwise. His best friends bet him that if he sticks to one woman for one month, he's bound to fall in love. Charlie takes the bet because he believes that he's immune to love, until he meets the beautiful and mysterious Eva. Charlie coaxes Eva into a casual affair but soon finds out that she has turned the tables on him, after realizing he wants a bit more from their relationship.
The film was first announced in July 2015, with director Bille Woodruff, which was being produced independently by Queen Latifah's company, Flavor Unit Entertainment. It was also revealed Terrence Jenkins, Paula Patton, Kali Hawk and Joe Pantoliano had joined the cast. Jorva Entertainment Prods. would be fully financing the film and co-producing with Flavor Unit. Written by Dana Verde, Gary Hardwick and Brandon Broussard, the film explores "what happens when a successful playboy meets his match." Latifah, Jenkins, Patton were also producing along with Shakim Compere, Alex Avant, Yaneley Arty, Douglas Shaffer and Jorva president Johnson Chan.[4] Principal photography on The Perfect Match began around late June 2015 in Los Angeles.[5]
On Rotten Tomatoes the film has an approval rating of 22% based on 18 reviews, with an average rating of 4.29/10.[9] On Metacritic the film has a weighted average score of 41 out of 100, based on 8 critics, indicating "mixed or average reviews".[10] Audiences polled by CinemaScore gave the film a grade of "B" on an A+ to F scale.[11]
Romantic comedy (also known as romcom or rom-com) is a subgenre of comedy and romance fiction, focusing on lighthearted, humorous plot lines centered on romantic ideas, such as how true love is able to surmount most obstacles.[1] In a typical romantic comedy, the two lovers tend to be young, likeable, and seemingly meant for each other, yet they are kept apart by some complicating circumstance (e.g., class differences, parental interference, a previous girlfriend or boyfriend) until, surmounting all obstacles, they are finally united. A fairy-tale-style happy ending is a typical feature.[2]
The basic plot of a romantic comedy is that two characters meet, part ways due to an argument or other obstacle, then ultimately realize their love for one another and reunite. Sometimes the two leads meet and become involved initially, then must confront challenges to their union. Sometimes they are hesitant to become romantically involved because they believe they do not like each other. After all, one of them already has a partner, or because of social pressures. However, the screenwriters leave clues that suggest that the characters are attracted to each other and that they would be a good love match. The characters often split or seek time apart in order to sort out their emotions or deal with external obstacles to their being together, which they eventually overcome.
While the two protagonists are separated, one or both of them usually realizes that they love the other person. Then, one party makes some extravagant effort (sometimes called a grand gesture) to find the other person and declare their love. This is not always the case, as sometimes there is a remarkable coincidental encounter where the two meet again. Alternatively, one plans a sweet romantic gesture to show that they still care. Then, perhaps with some comic friction or awkwardness, they declare their love for each other, and the film ends on a happy note. Even though it is implied that they live happily ever after, it does not always state what that happy ending will be. The couple does not necessarily get married or even live together for it to be a "happily ever after". The conclusion of a romantic comedy is meant to affirm the primary importance of the love relationship in its protagonists' lives, even if they physically separate in the end (e.g., Shakespeare in Love, Roman Holiday).[3] Most of the time the ending gives the audience a sense that if it is true love, it will always prevail no matter what is thrown in the way.
There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best Friend's Wedding and My Super Ex-Girlfriend). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothing and A Midsummer Night's Dream.
Over the years, romantic comedies have slowly been becoming more popular to both men and women. They have begun to spread out of their conventional and traditional structure into other territory. This territory explores more subgenres and more complex topics. These films still follow the typical plot of "a light and humorous movie, play, etc., whose central plot is a happy love story"[4] but with more complexity. These are a few ways romantic comedies are adding more subtlety and complexity into the genre. Two ways they are adding to the complexity are through the general obstacles that come between the couple and the general morals that the characters feel throughout the entire film.
Some romantic comedies have adopted extreme or strange circumstances for the main characters, as in Warm Bodies where the protagonist is a zombie who falls in love with a human girl after eating her boyfriend. The effect of their love towards each other is that it starts spreading to the other zombies and even starts to cure them. With the zombie cure, the two main characters can now be together since they do not have that barrier between them anymore.[5] Another strange set of circumstances is in Zack and Miri Make a Porno where the two protagonists are building a relationship while trying to make a porno together. Both these films take the typical story arc and then add strange circumstances to add originality.
Other romantic comedies flip the standard conventions of the romantic comedy genre. In films like 500 Days of Summer, the two main interests do not end up together, leaving the protagonist somewhat distraught. Other films like Adam have the two main interests end up separated but still content and pursuing other goals and love interests.
Some romantic comedies use reversal of gender roles to add comedic effect.[6] These films contain characters who possess qualities that diverge from the gender role that society has imposed upon them, as seen in Forgetting Sarah Marshall in which the male protagonist is especially in touch with his emotions, and Made of Honor in which the female bridesmaids are shown in a negative and somewhat masculine light in order to advance the likability of the male lead.[7] 152ee80cbc
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