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Marisa (she/her) has covered all things parenting, from the postpartum period through the empty nest, for Good Housekeeping since 2018; she previously wrote about parents and families at Parents and Working Mother. She lives with her husband and daughter in Brooklyn, where she can be found dominating the audio round at her local bar trivia night or tweeting about movies.

Courtney Young is a freelance writer covering all things entertainment and pop culture, having previously written for Betches, Mic, and The Cut. Her Real Housewives locale of choice is New Jersey, her emotional support show is Girls, and her toxic trait is romanticizing mafia culture. You can follow her on Instagram @courtneyyoungg.

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Oftentimes, entering into a romance-focused movie can mean a breezy, perhaps even light-hearted viewing experience awaits. This is especially the case when it comes to romantic comedies, which are, by and large, very entertaining and mostly charming films that are unapologetic about providing escapism and romantic fantasies. Such rom-coms - and some romantic dramas - may have some more serious or emotional moments, but they're rarely films that could be described as intense.

That makes the occasional tense romance movie all the more worthy of praise and attention, because some films that largely revolve around romantic relationships can also serve as disquieting dark comedies or even thrillers. The following romantic movies are all quite intense and disquieting in their own ways, whether that be because they get dark in places, they aim to thrill/unnerve, or because they get truly psychological. Such films might not be easy to watch, but they are all gripping.

Punch-Drunk Love is a romantic comedy of sorts, though the comedy is darker than you'd expect from most rom-coms. Sandler plays a very awkward and sometimes very angry man who finds little success in life, until he meets a woman (played by Emily Watson) who he feels genuine feelings for. It's got the sort of unpredictable tone and distinctive style to it that you'd expect from Paul Thomas Anderson, and though such an approach might not be for everyone, it does ensure Punch-Drunk Love is, at the very least, hard to forget.

There's an argument to be made that James Cameron was already king of the (blockbuster) world before the release of Titanic, but this 1997 epic was a step above anything he'd done before when it came to things like the box office and awards recognition. Much of its first half plays out like a relatively straightforward romantic story set on the doomed titular ocean liner, with Kate Winslet and Leonardo DiCaprio playing characters from different social backgrounds who nevertheless fall in love.

It's also one of those romance movies that's more about a break-up than something more traditionally lovely and romantic, though the procedure does lead to both characters feeling conflicted and doubtful of their decisions. It's a surreal, harrowing, and sometimes challenging film, but also a hugely impressive and haunting one that's likely to leave a mark on anyone who watches it, particularly those who feel as though they've loved and lost (allegedly, that's better than having never loved at all).

Park Chan-wook has made numerous great films, with many of them definable as psychological thrillers or gritty action/crime movies. The Handmaiden sees him playing to his strengths while also directing a movie with a more romantic story than most of the things he'd made before, with the plot here centering on two people who aim to swindle a Japanese heiress to get her fortune in the 1930s.

However, genuine romantic feelings arise between two people involved in the scheme, which naturally throws off the plan in a series of thrilling and intense ways. The Handmaiden is certainly a passionate and oftentimes tense movie, with love being found in a complex and dangerous place, leading to a good deal of suspense throughout. It's a unique ride of a film where the less said about the plot, the better, though it's safe to say The Handmaiden can be both romantic and nerve-wracking.

Even though Mike Nichols directed many memorable movies, there's a strong argument to be made that one of his earliest - 1967's The Graduate - was always his very best. It's an intentionally awkward coming-of-age dramedy about a young man who's recently graduated from college and has little idea of what to do with his life. He then proceeds to make a bad situation worse by entering a strange relationship with the mother of a young woman his parents would like him to have a relationship with.

Its dark sense of humor and willingness to be brutally honest about certain things means The Graduate might not be a romantic movie, but it is a romance movie, as relationships are a key part of the narrative here. It gets more intense as it goes along, with certain parts getting awkward enough that they have the potential to unnerve viewers and make them feel surprisingly uncomfortable.

It's fair to say that Breaking the Waves is a romantic movie by Lars von Trier standards, though the infamous Danish filmmaker is known for his harrowing and disturbing movies. As such, it's also fair to say that Breaking the Waves is not a fun movie and gets expectedly depressing throughout, with its premise centering on a man who, after getting paralyzed in a work accident, insists his wife should have extramarital affairs to "keep" the sexual side of their relationship going, in a way.

Jeremy is an omnivore when it comes to his movie-watching diet. He'll gladly watch and write about almost anything, from old Godzilla films to gangster flicks to samurai movies to classic musicals to the French New Wave to the MCU... well, maybe not the Disney+ shows.

His favorite directors include Martin Scorsese, Sergio Leone, Akira Kurosawa, Quentin Tarantino, Werner Herzog, John Woo, Bob Fosse, Fritz Lang, Guillermo del Toro, and Yoji Yamada. He's also very proud of the fact that he's seen every single Nicolas Cage movie released before 2022, even though doing so often felt like a tremendous waste of time. He's plagued by the question of whether or not The Room is genuinely terrible or some kind of accidental masterpiece, and has been for more than 12 years (and a similar number of viewings).

When he's not writing lists - and the occasional feature article - for Collider, he also likes to upload film reviews to his Letterboxd profile (username: Jeremy Urquhart) and Instagram account.

Megan Stein is the executive editor for The Pioneer Woman, and oversees entertainment, features, and news for the website. Whether it's catching up on the latest true crime podcast, or re-watching the best '80s movies for the zillionth time, she's always here to talk about anything and everything relating to pop culture.

Romantic comedy (also known as romcom or rom-com) is a subgenre of comedy and slice of life 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. ff782bc1db