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If I tell you "Two Weeks Notice" is a romantic comedy and it stars Sandra Bullock and Hugh Grant , what do you already know, and what do you need to know? You already know: That when they meet the first time, they don't like each other. That circumstances bring them together. That they get along fine, but are sometimes scared by that and back off a little. That they are falling in love without knowing it. That just when they're about to know it, circumstances force them apart. That they seem doomed to live separately, their love never realized. That circumstances bring them back together again. That they finally cave in and admit they're in love.

You need to know: What her job is. What his job is. What they disagree about. What their personality flaws are. And whether, just when their eyes are about to meet, it is a woman who seems to lure him away, or a man who seems to lure her away? You also need to know certain plug-in details of the movie, such as which ethnic groups and ethnic foods it will assign, and what fantasy dreams it will realize.

I have not, by making these observations, spoiled the plot of the movie. I have spoiled the plot of every romantic comedy. Just last week I saw " Maid in Manhattan ," and with that one you also know the same things and don't know the same things. The thing is, it doesn't matter that you know. If the actors are charming and the dialogue makes an effort to be witty and smart, the movie will work even though it faithfully follows the ancient formulas.

Romantic comedies are the comfort food of the movies. There are nights when you don't feel like a chef who thinks he's more important than the food. When you feel like sliding into a booth at some Formica joint where the waitress calls you "Hon" and writes your order on a green and white Guest Check. Walking into "Two Weeks Notice" at the end of a hectic day, week, month and year, I wanted it to be a typical romantic comedy starring those two lovable people, Sandra Bullock and Hugh Grant. And it was. And some of the dialogue has a real zing to it. There were wicked little one-liners that slipped in under the radar and nudged the audience in the ribs.

She plays a Harvard Law graduate who devotes her life to liberal causes, such as saving the environment and preserving landmarks. He plays a billionaire land developer who devotes his life to despoiling the environment and tearing down landmarks. They disagree about politics and everything else. He is an insufferable egotist, superficial and supercilious, amazed by his own charm and good looks. She is phobic about germs, has a boyfriend she never sees, and thinks anybody who wants to hire her wants to sleep with her.

He is also impulsive, and after she assaults him with a demand to save her favorite landmark, he hires her on the spot, promises he will not offend her sensibilities, and gives her a big salary. He does this, of course, because he plans to violate all of his promises, and because he wants to sleep with her. He may not know that, but we do.

The first half of the movie is just about perfect, of its kind, and I found myself laughing more than I expected to, and even grinning at a colleague who was one seat over, because we were both appreciating how much better the movie was than it had to be. Then a funny thing happens. The movie sort of loses its way.

This happens at about the time the billionaire, whose name is George Wade, agrees to let the lawyer, whose name is Lucy Kelson, quit and go back to her pro bono work. Her replacement is June Carter ( Alicia Witt ), a dazzling redhead with great legs and flattery skills. We think we know that she is going to be a rat, and seduce George, and all the usual stuff. But no. She does make moves in that direction, but from instinct, not design. The fact is, she's essentially a sweet and decent person. At one point, I thought I even heard her say she was married, but I must have misheard, as no romantic comedy would ever make the Other Woman technically unavailable.

Anyway, what goes wrong is not Alicia Witt's fault. She plays the role as written. It's just that, by not making her a villain, writer-director Marc Lawrence loses the momentum the formula could have supplied him. The last half of the movie basically involves the key characters being nicer than we expect them to be, more decent than we thought and less cranked-up into emotional overdrive. The result is a certain loss of energy.

I liked the movie, anyway. I like the way the characters talk. I like the way they slip in political punchlines, and how some of the dialogue actually makes points about rich and poor, left and right, male and female, Democratic and Republican. The characters are not entirely governed by their genitals.

Sandra Bullock, who produced the film, knew just what she was doing, and how to do it. Hugh Grant knew just what he was getting into. Some critics will claim they play their "usual roles," but Grant in particular finds a new note, a little more abrupt, a little more daffy, than usual. And they bring to the movie what it must have: two people who we want to see kissing each other, and amusing ways to frustrate us until, of course, they finally do.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film Credits

Two Weeks Notice (2002)

Rated PG-13 For Sex-Related Humor

100 minutes

Sandra Bullock as Lucy Kelson

Hugh Grant as George Wade

Alicia Witt as June Carter

Dorian Missick as Tony

Written and Directed by

• Marc Lawrence

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• DVD & Streaming

Two Weeks Notice

• Comedy , Romance

Content Caution

In Theaters

• Sandra Bullock as Lucy Kelson; Hugh Grant as George Wade; Alicia Witt as June Carver; Robert Klein as Larry Kelson; Dana Ivey as Ruth Kelson; Heather Burns as Meryl Brooks; David Haig as Howard Wade; Dorian Missick as Tony

Home Release Date

• Marc Lawrence

Distributor

• Warner Bros.

Movie Review

New York City real estate developer George Wade goes through lawyers the way other millionaire playboys go through girlfriends. Of course, they’re one and the same for George, who habitually hires undereducated bimbos to handle his briefs. Their constant legal miscues force George’s business-partner brother to issue an ultimatum: Find the firm a qualified, Ivy League chief counsel or be forced to step aside. Meanwhile, lawyer Lucy Kelson has a reputation for eschewing the big bucks to help the little guy. She nobly defends children and homeless people, stages protest rallies against the dynamiting of old buildings, and is dating “a dedicated environmental warrior.” Betcha can’t guess where this one’s going! Lucy gets an offer she can’t refuse from George, and takes the job in order to save a community center targeted for demolition. After nearly a year of slaving away as George’s strictly professional assistant, she’s gives him her two weeks notice. But she can’t leave until she helps him hire a replacement. During this process Lucy meets June, the woman who’ll fill her shoes, and has second thoughts about leaving George. Will she stay? Does George share her feelings? What about June? And why hasn’t George been sued into bankruptcy by all of those jilted former in-house lawyers/girlfriends? The film answers all of those questions (except the last one) while trading heavily on deadpan humor, physical comedy and the audience’s desire to see these likable leads find their soul mate.

positive elements: Even if viewers don’t completely agree with Lucy’s politics (she an ecologically obsessed, anti-Bush liberal openly hostile toward corporate America), her willingness to stand up for what she believes at great personal cost is admirable. She’s a hard worker with a strong sense of community and a loving relationship with her supportive parents. Lucy draws a line early in her relationship with the philandering George, telling him she won’t sleep with him, and doesn’t (though she comes close once while under the influence of alcohol). Lucy warns a young girl under George’s spell to go home before she does something she’ll regret. Lucy complains about the relational stress and inner turmoil created by her mother’s unrealistically high expectations of her, to which George—shallow, selfish and never urged to be anything more—responds that it’s better than no one having expectations. Lucy challenges George to use his money and influence for good. She eventually tells him that she thinks more of him and his potential than he does. George rescues Lucy from an embarrassing situation, refuses to take advantage of her when she’s inebriated, and makes a supreme sacrifice to fulfill a promise to her. He is kind to servants and autograph seekers alike. Lucy’s father is optimistic about the ability for people to turn a positive corner in their lives (“As long as people can change, the world can change”).

sexual content: We learn early on that George—still in the final stages of a divorce—is a shameless womanizer. It is excused to a certain degree because his wife has also been playing the field. Dialogue implies that Lucy has made sex part of her dating relationships. While drunk, she says she is great in bed, and propositions George by telling him she’s aggressive and very flexible (“I’m a bobcat … I can bend like a pretzel”). Other sexual humor includes a scene in a men’s room where they are caught in an innocent, yet compromising position (somehow Lucy’s hair gets caught in George’s belt). June convinces George to play a game of strip chess. Lucy walks in on them in their underwear and, shaken by this relational setback, lies about having a man waiting for her in her bed. This casual treatment of sex as a “given” for dating singles is the most disturbing part of the film. As is the case in so many modern romantic comedies, we’re rooting for a character to find lasting love with an extremely promiscuous partner whose sexual history would have to include all kinds of emotional, if not bacteriological baggage.

violent content: George’s soon-to-be ex-wife throws water in Lucy’s face and is restrained from attacking her further. Women scuffle over a stapler.

crude or profane language: About a dozen TV-grade profanities (SOB, h—, a–, d–n). More than half of them are exclamations such as “oh god” or “my god,” and there’s one such use of Jesus’ name.

drug and alcohol content: Depressed about a breakup, Lucy gets falling-down drunk and passes out after coming on to George. Her condition is played for laughs, though a hangover the next morning—and the uncertainty of whether she gave in sexually while intoxicated—implies consequences. Ladies at a party order champagne and Scotch. June asks George to bring her a beer, and a little later is shown getting them another round during strip chess.

other negative elements: Lucy’s friend develops a rather bleak outlook on her new marriage, viewing it as a dark cloud threatening her freedom and independence.

conclusion: I don’t feel I’m compromising my manhood to admit that I enjoy fresh, funny romantic comedies. That includes Big Fat Greek ones. So there’s no inherent football spiking, socket wrench turning, macho bias at work when I say that Two Weeks Notice was created for undemanding romantics who’ve been pining over the recent drought of by-the-numbers Nora Ephron films. Here we have another lightweight set of contrivances that, in the first 10 minutes, gives you everything you need to know to figure out the last 10 minutes. Where but in Hollywood can two antagonistic opposites with a deep-seated disdain for everything the other stands for so consistently end up madly in love? Been there. Done that. Got the his-and-her matching monogrammed bath towels.

In spite of this significant shortcoming, Two Weeks Notice isn’t without its occasional charms. The likable Grant and Bullock share good chemistry, making the tired formula more bearable. His boyish decency and dry wit, paired with her winsome, lonely-hearts-club lack of situational savoir-vivre, work well together, even if their performances feel warmed over from other, better films. You’re not watching George and Lucy; your watching Hugh and Sandra. But for die-hard fans, that will be enough. If only the movie’s sweet and funny moments weren’t marred by sexual repartee and a preachy, left-leaning social agenda. But that’s pretty much par for the course. And if Two Weeks Notice is anything, it’s predictable.

Bob Smithouser

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Two Weeks Notice

Where to Watch

Sandra Bullock (Lucy Kelson) Hugh Grant (George Wade) Alicia Witt (June Carver) Dana Ivey (Ruth Kelson) Robert Klein (Larry Kelson) Heather Burns (Meryl Brooks) David Haig (Howard Wade) Dorian Missick (Tony) Joseph Badalucco Jr. (Construction Foreman) Jonathan Dokuchitz (Tom)

Marc Lawrence

A lawyer decides that she's used too much like a nanny by her boss, so she walks out on him.

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Two Weeks Notice Review

07 Feb 2003

101 minutes

Two Weeks Notice

Having scripted a pair of Sandra Bullock vehicles (the entertaining Miss Congeniality and the frankly abysmal Forces Of Nature ), Marc Lawrence makes his directorial debut with his favourite actress in the spotlight once more.

The end result falls somewhere between his two previous efforts — while not nearly as much fun as Congeniality, it’s certainly a vast improvement on Forces, and proves far wittier and perkier than much of the sentimental fluff that passes for mainstream rom-com these days.

That said, much of the reason for the film’s success is down to the pairing of Grant and Bullock, and it’s easy to see how the film could have been a leaden disaster in the hands of blander actors.

Thankfully these two, who made no secret of how well they got on during filming (sparking many a rumour — still doing the rounds in some quarters — that they were more than just good friends), not only seem comfortable in each other’s company, but do a fine of job of giving the material the lightweight treatment it needs.

Bullock is the less convincing of the pair — her transformation from eco-friendly hippy-chick into buttoned-up, be-suited businesswoman requires some serious suspension of disbelief. But Grant, essentially rehashing the posh buffoon that has become something of a trademark role for him, is very likeable, and it’s he who bags the lion’s share of the film’s best lines. And there are just enough of these in Lawrence’s script — which insults neither the intelligence of the audience nor its characters and, for the most part, avoids schmaltzy sweetness.

It’s a pity, then, that the focus is so entirely upon the two leads that the supporting characters are barely given the chance to shine. Witt’s catty young legal exec is simply two-dimensional set-dressing, while Ivey and Klein, playing Bullock’s parents, are disappointingly underused.

It’s enjoyable enough, but you can’t help feeling that a little more depth elsewhere would have gone a long way, rather than allowing the film to be overly dependent on its two stars.

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Two Weeks Notice

• A lawyer decides that she's used too much like a nanny by her boss, so she walks out on him.
• Harvard educated lawyer Lucy Kelson, following in the footsteps of her lawyer parents, uses her career for social activism. She hides any sense of femininity behind her work. George Wade is the suave public face of the Manhattan-based Wade Corporation, a development firm that Lucy routinely opposes and whose true head is George's profit-oriented brother, Howard Wade. George, who has a reputation as a lady's man, has had as his legal counsel a series of beautiful female lawyers with questionable credentials, they who have more primarily acted as his casual sex partners. Needing a real lawyer, he offers Lucy the job of his legal counsel on a chance meeting. Despite warnings from her parents in working for the "enemy", Lucy, who has no intention of being the latest in his bed partners, accepts the job as she feels she can do more good from the inside, and as George, as part of the job offer, promises not to demolish a community center in a heritage building as part of a development project near her childhood Coney Island home where her parents still live. Although Lucy is able to effect the type of change she wanted from this position, she finds she cannot deal with George's expectations of her, namely being his primary confidante and advisor at all hours of the day and night, mostly about issues she considers frivolous. As such, she gives him two weeks notice, although she promises to help George find her replacement. As Lucy begins to review resumes, George himself unilaterally decides to hire June Carver, a fellow Harvardite, but who seems to have her sights set on George as both a boss and personal partner. As June begins to replace Lucy in seemingly all aspects of George's life, Lucy begins to realize that she herself has fallen for George. However, Lucy's feelings for George and her attempts to re-ingratiate herself into George's life are placed into jeopardy when she learns of a Wade Corporation decision against her basic sensibilities. — Huggo
• Lucy Kelson, the brilliant but insecure lawyer with a sharp, strategic mind, is working as a Chief Counsel for the Wade Corporation: one of New York City's most important commercial real estate developers. As a result, she can't get much sleep, and as if that weren't enough, she also has a chronic ulcer. Of course, it's not the job that's getting to her; it's her millionaire boss, George Wade. Handsome, charming, and, irrefutably, self-centred, George treats Lucy more like his nanny than a well-trained Harvard Law graduate, and what's even more impressive, he can barely choose a tie without her help. Now, after one long year of calling the shots--pretty much on everything, from his clothes to his divorce settlements--Lucy Kelson is finally calling it quits. But, Wade is given two weeks notice. Is it ever too late to say "I love you"? — Nick Riganas
• LUCY Kelson (Sandra Bullock) is protesting the demolition of a 75 year old building that she says is a landmark. Lucy is arguing with a construction worker who is telling her to move so the crew can proceed with the demolition. Lucy, along with her two friends Meryl and Tom, lay down in the street hoping to prevent the demolition. While laying there, Tom proposes to Meryl who says yes. The police show up and arrest all three. Lucy and her friends are bailed out by Lucy's parents, Larry (Robert Klein) and Ruth Kelson (Dana Ivey). Lucy thanks her parents but is dismayed when she finds out the building was still demolished after they were arrested. Her parents tell her that is what the Wade corporation does, and the company even has plans to build condos near their house and knock down the local community center. Lucy goes home to the apartment she shares with her parents. She orders an insane amount of Chinese food considering it's only for one person as she is a big stress eater and reads a magazine article about George Wade and the Wade Corporation while eating. GEORGE Wade (Hugh Grant) is receiving a Man of the Year award due to millions donated to a hospital by the Wade corporation. George gives and acceptance speech and an interview with the press. George mingles with various people at the event when he is approached by his driver Tony who tells George that George's brother wants to see him tonight. George arrives at his brother's house where he exchanges pleasantries with his sister-in-law and the housekeeper before going to see his brother in the gym. HOWARD Wade (David Haig) tells George about deals the company lost because of the incompetence of the legal counsel George has hired. Apparently, this latest attorney hired by George is just another in a line of attractive women with law degrees from mediocre schools. Howard tells George to hire someone from Harvard, Yale, etc. The next day Lucy is approaching the Wade building. George is walking out talking to an attractive female attorney he just interviewed. After the two part ways, Lucy approaches and introduces herself to George as he is walking to his car. Lucy mentions she is an attorney which prompts George to ask her if she has ever heard of Saint-Tropez Law School, presumably the law school attended by George's recent interview. Lucy says no. George asks Lucy where she attended law school, and Lucy tells him Harvard. This intrigues George who asks for her background. Lucy tells him about the legal aid organizations for which she has worked. George comments that working for those organizations can't pay much, and Lucy tells him she isn't very interested in money. George laughs but then recognizes her name as being the attorney who protests his company as well as other similar companies. George realizes Lucy isn't there for a job. Lucy tells George she is there representing the Coney Island Community Center. Lucy tells George about all the activities the community center has and how important it is to the neighborhood. George tells her that another company has the inside track for the contract. Lucy tells him her parents know a local politician involved in the process who will guarantee the contract to Wade if Wade agrees to keep the community center. NORMAN from Wade runs out to speak with George telling him about an appointment coming up very soon as well as needing a quote for an article. George starts making up a quote prompting Lucy to piggyback off what he is saying to promote the community center. George uses her words to finish the quote. George has Lucy get into his limousine with him since he is running late for an appointment. George offers Lucy a deal. If Lucy accepts the job as Wade's chief counsel, George will promise to keep the community center as well as allow her to direct all of Wade's charitable endeavors. Lucy says she is unsure, and George tells her to think about it. Lucy walks along the boardwalk outside the community center while thinking about the offer. Lucy eats at a restaurant with her parents. Her mother tells he she can't work for Wade, but Lucy points out how it's the only way to save the community center as well as the other resources she will have to do good. Lucy takes the job. Two weeks later, Lucy stops to talk to George about a Wade project. George asks Lucy her opinion about which of two envelopes he should use for his new personal stationary. Since the two look identical, Lucy licks both and picks the better tasting one. George says he has already asked 30 people, and Lucy was the only person to come up with that answer. George is impressed and says he is going to get Lucy a bigger office. Six months later, George has Lucy with him helping him pick out a mattress. Four months later, Lucy is sleeping when her phone rings. George is calling from the bar at 2:15 am. Lucy is annoyed and tells George to put whatever girl he is talking to at the bar on the phone. Lucy tells the girl a bunch of things to get her to leave George and go home. Lucy then tells George he should be getting sleep since they have a meeting about his divorce in the morning. The next morning, Lucy is sitting in a conference room with George's soon to be ex-wife LAUREN and her attorney, BUZZ, while waiting for George, who is late. George finally shows up. Buzz says he wants to discuss the terms of the settlement. Lucy tells him the terms have already been set since there is a pre-nuptial agreement. Buzz says that George's infidelity in the marriage can warrant change to the terms. Lucy tells Buzz that Lauren cheated as well during the marriage with the company accountant. Lucy says they will not agree to pay any additional alimony, but George cuts her off saying they will pay it as long as she signs a form releasing him from any further commitments. Lauren lashes out calling Lucy a bimbo and throws water on her. Lucy and George walk back to the Wade office. Lucy is annoyed with George for agreeing to pay the additional alimony. George tells Lucy Lauren would have kept fighting for it, and George wanted it to be done and over with. While walking past what appears to be a needy person holding a coffee cup, Lucy throws change in the coffee cup not realizing the cup is actually filled with coffee and not for donations. The needy man flips out on Lucy. George pulls her away and says he needs her help on something important. The important thing is George shopping for clothes. Lucy is annoyed with George for having her help out with non-legal mundane tasks and leaves the store leaving George behind. Two months later, Lucy is the Maid of Honor in Meryl and Tom's wedding. During the ceremony, Lucy's cell phone rings. On her phone is a message from George that says, "EMERGENCY Come ASAP **GEORGE**." Much to Meryl's shock, Lucy runs out of the church and hails a taxi to the hotel George lives in. Lucy tries to call George on the way to find out what's wrong, but George doesn't answer. Lucy enters George's penthouse, and George yells for her to come into his closet. George's emergency is that he's judging the Miss New York contest in an hour and doesn't know what to wear. Lucy is horrified to discover George called her out of a wedding to pick out a suit. George didn't know she was in a wedding and seems surprised she left the wedding. Lucy points out that George said it was an emergency and reminds him she has previously informed him as to what constitutes an emergency. While picking out George's outfit for him, Lucy reminds George this current situation doesn't count as an emergency as well as previous situations George similarly summoned her including calling in the middle of the night or interrupting her "lady doctor" visit for similarly non-emergency reasons. Lucy is fed up and tells George she is quitting and to consider this her two weeks notice. George seems distraught and starts lashing out calling Lucy ungrateful and pointing out she left her cell phone on because she craves excitement and emergencies. George points out that before Lucy came into his life, he was capable of making all kinds of decisions, but now he needs her opinion on everything. Lucy leaves in disgust. Lucy tells her boyfriend Ansel on the phone about quitting, but the conversation is cut short as Ansel is shipping out on some new Green Peace mission. Lucy goes on three job interviews. All three interviewers tell Lucy they can't hire her because George doesn't want them to. Lucy goes into George's office who is currently getting massaged by two masseuses. Lucy yells at George about him calling other places preventing her from getting another job, George points out that Lucy has a contract that says she will work for Wade until at least the completion of the Island Towers project, which is the initial project Lucy got Wade in order to save the community center. The contact, which was drafted by Lucy, says that George can stop her from working anywhere else until the project is completed. Lucy's parents review the contract but can't find any loopholes in it allowing Lucy to break or void the contract. Lucy's dad offhandedly mentions there is nothing Lucy can do short of going in and deliberately trying to get fired. This catches Lucy's attention who appears to have an idea. Lucy goes to work the next day deliberately trying to get fired. Lucy shows up late to a meeting with George and Howard while chewing gum. Lucy rudely bumps into Howard, insults Howard's children in a picture, spits out her gum on the floor which is then stepped on by Howard, and pretends to be clueless when asked for her opinion for ideas. George takes Lucy out of the meeting telling her he knows what she is trying to do, and it is not going to work. Having now stopped outside the Men's bathroom, Lucy grabs George and takes him in the bathroom to talk. Lucy explains the negative impact George has on her life. George tries to promise to be better, but Lucy says he won't be and George agrees. George agrees to let her leave after she finds a replacement. Lucy thanks George and hugs him. Her earring falls out on the ground. Lucy bends down to pick it up, but while standing back up, her hair gets caught in George's belt. While George and Lucy are trying to get Lucy's hair uncaught, Howard walks in to see Lucy squatting down in front of George appearing as if she is pleasuring him. Lucy and George do a photo shoot to promote the project at the site of the Island Towers project. Lucy walks over to say hi to her parents Larry and Ruth who have come to say hi since the site is right by their house. George comes over and says hi. They all go back to Larry and Ruth's apartment for cake. Lucy and George go up to the roof and talk while eating cake. Lucy talks about the difficulties of her mother having such high expectations whereas George contrasts it saying it's better than people having no expectations of you. Lucy and George conduct the first interview for Lucy's replacement. George congratulates the interviewee, who is a heavier woman, on being pregnant, but she is not pregnant. Lucy and George go to lunch after the interview. George suggests Lucy conducts the interviews without him moving forward. While Lucy is listing some names of possible candidates including men, George tells her it has to be a woman because it will annoy Howard. Their closeness is obvious as they get the same salad and immediately start picking off things they know the other person doesn't like but they do. George walks into Lucy's office to ask him about his outfit for a tennis charity event later that evening. Lucy is obviously upset and angrily stapling papers telling George she just had a fight and broke up with Ansel. George cancels his plans to attend the charity event and takes Lucy out on his yacht to cheer her up. Lucy gets drunk and starts talking about how she always drives men away. George theorizes that it's because Lucy doesn't really like the men she's dated. Lucy says that doesn't make sense because they have all the same political views and ideologies. Lucy says George may be right, but she's never been very passionate about anyone. Lucy passes out. George carries Lucy into her apartment which is in the same hotel that George owns and lives in. Lucy is hung over the next morning drinking coffee outside when George approaches her. She apologizes for the previous night and checks with him to make sure they didn't have sex or anything which George reassures her they didn't. Lucy is in the break room at work drinking coffee when Norman comes in scaring her causing her to spill coffee on her shirt. Norman says an attorney from Harvard is there to see Lucy. Lucy looks at her resume remembering it noting that she didn't have a strong background in property law which is presumably why Lucy had not set up an interview with her. Norman says she is down from Boston and only wants five minutes, and Lucy agrees to meet with her. Norman brings her to Lucy's office. JUNE Carver (Alicia Witt) introduces herself to Lucy. June flatters Lucy telling her she is a legend at Harvard Law School as previous editor of the Law Review and mentions articles written by Lucy while there. June admits not having a strong background in property, but mentions how Lucy did not either when she graduated from Harvard and has done so well. June mentions she was impressed by a quote by George Wade about the challenges of urban development in an article she had read. June reads the quote which is the quote Lucy and George came up with during their first meeting outside the Wade building earlier in the movie. As June finishes reading the quote, George walks in. George mentions that Lucy actually wrote the quote. Norman then comes in telling Lucy she is needed on a call from the Zoning Commission. Lucy tells June they should set up a proper interview for tomorrow, but George volunteers to finish the interview. Lucy seems a little disheveled about George wanting to finish the interview, possibly since June is very attractive. That night, George and Lucy are at the Mets game. Lucy asks George what he thinks of June. George mentions that he likes her, that June and him went out for a drink and talked for hours, and he even got her a room to stay at the hotel since she didn't have anywhere to stay. George also mentions he invited June to the company tennis outing. A foul ball is popped up and heads right for Lucy and George who are in front row seats. Mets catcher Mike Piazza starts running over to try and make the catch. Lucy is waving her hands above her head afraid for the ball to hit her and ends up blocking Piazza from making the catch. The whole stadium starts booing Lucy who is now being shown on stadium big screen. At the company tennis outing, George and June are playing a doubles match against Lucy and Norman. Lucy and June seem to be particularly competitive against each other. This eventually leads to June hitting an overhead shot that hits Lucy right in the head. Lucy sits on the side of the courts eating while watching George and June flirting with each other. While George and Lucy are driving back from the outing, Lucy's stomach starts bothering her since she ate too much. As George and Lucy are stuck in traffic on the bridge, Lucy realizes she really needs a bathroom. George gets Lucy out of the car and runs with her to an RV also on the bridge. George offers the family in the RV $100 to let Lucy use their bathroom. While Lucy is still in the bathroom, traffic starts moving and the RV drives by Lucy's parked car. Lucy and George are dropped off at a shopping center parking lot after they are off the bridge. Lucy asks George where the car is, and he responds it has probably been towed by now. George takes out his cell phone and says he'll call for a lift. A Wade helicopter lands in the parking lot and picks them up to fly them back to the office. At the office, George is in the break room when June comes in and starts talking with him. June asks about the big charity benefit everyone is going to that night almost kind of fishing for an invite. George invites June to the benefit. June drops something off to Lucy in her office. Lucy tries to give her something else to do, but June mentions she may not have time as she has to get ready for the benefit since George invited her. Lucy seems annoyed about George inviting June. Lucy gives George documents to sign while leaving the office and tells George she doesn't need a ride to the benefit when George mentions picking her up. George is in the back of his car when he receives a call from Howard. Howard says he got the new costs estimate for Island Towers. Since costs are going up so much, they are going to have to knock down the community center since it will be so much cheaper to do so. George argues with Howard saying they only got the project because they promised to keep the community center. Howard says they never promised to keep the community center; they only said they intended to keep it. George goes over Howard's house to discuss the matter. Howard tells George that George needs to give a speech at the groundbreaking event. George refuses because he doesn't agree with the company knocking down the community center. Howard tells George he will do it or he will be fired. George, June, and Tony walk into the charity benefit. They are dressed a little silly since the benefit is for a children's charity with George wearing a tie 3-4x bigger than normal. They are greeted by Howard and his wife. George goes to get June a drink. George looks across the benefit and notices Lucy looking very nice all dressed up. George and Lucy say hi to each other. George is taken aback at how Lucy looks all dressed up. Lucy says she completes the outfit by putting on a clown nose. June comes up and says hi. June mentions that Howard wants June to revise the Island Towers proposal now that they are tearing down the community center and could really use Lucy's help. Lucy is shocked and asks to speak to George in private. George and Lucy have an argument. George says he argued with Howard to try and keep the community center, and it doesn't matter because Lucy is quitting. Lucy says she is disappointed with George for not trying to be the person he could be, and this is the first time in a year that she really doesn't like who he is. Lucy storms off. George and June get back to the hotel and get into the elevator. June starts kissing George, and instead of getting off on the floor to her room, they go up to George's penthouse. June sees a chess board and suggests they play strip chess. Lucy walks into the hotel and takes the elevator up to George's place. Lucy walks in calling out for George when June pops in from the kitchen only wearing a bra and slip. George then comes out without any pants on and stops when he sees Lucy. George says they are just playing chess, and Lucy says it's fine and she's about to go have sex herself. Lucy leaves and goes to Meryl's place to return her the shoes she borrowed. Lucy tries to leave right after, but Meryl stops Lucy to talk and console her as Lucy is upset. The next day at the office there is a farewell party for Lucy. June stops by to say goodbye to Lucy and apologizes for last night. June jokes about Lucy stealing the company's stapler, and Lucy laughs when June talks about keeping her personal and professional life separate. This leads to a physical altercation between the two causing the need for them to be separated. George takes Lucy into another room. George tries to talk to Lucy about the situation while Lucy just keeps asking George if he is still planning to knock down the community center. The two argue with George telling Lucy she's alone because no one is as perfect as she is and not everyone wants to be preached to all the time. Lucy is back living with her parents in the apartment and orders Chinese food. At the groundbreaking event for Island Towers, George starts to give his speech. Lucy and her father Larry are having breakfast and talking. Lucy is discouraged about the situation. Larry tells her she can't give up and that people can change. Lucy says she's worried that people can't change. Larry points out how he's eating something healthy right now that he hates for her mother, so people can change. Lucy says bye and goes to work at Legal Aid. Lucy is at work talking to a woman about helping prevent her from being evicted. She goes downstairs to get forms. George walks in the front door. Lucy comes back upstairs and George says hi. Lucy says she's busy. George says he wants to read her his speech from the groundbreaking event and get her opinion on it. George reads his speech including that Wade is going to keep the community center and not knock it down since they promised the community. George also tells Lucy he didn't sleep with June. Lucy starts to tear up, but she says she has to get back to work. George leaves. After thinking about it, Lucy runs outside after George. Lucy runs into George's arms. Lucy starts rambling, so George stops her and tells her he loves her. Lucy says she loves him too. George mentions he has resigned from his job. The two kiss. Back at Lucy's apartment, Lucy is on the phone ordering Chinese food while George jokes about how small the apartment is. The end.

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Two Weeks Notice (2002)

From its opening minutes, Two Weeks Notice promises to be the story of how two mismatched, lovable losers get together and fall in love.

Artistic/Entertainment Value

Moral/spiritual value, age appropriateness, mpaa rating, caveat spectator.

Our first lovable loser is Lucy Kelson (Sandra Bullock), the New York Liberal of New York Liberals. The child of two aggressively progressive parents (Dana Ivey and Robert Klein), who were active in politics as far back as the Civil Rights Movement of the 1950s, Lucy was raised to follow in their footsteps and has been a protester ever since the time she was a little girl growing up in the opening credits.

When we first meet her, she is comically hanging from a wrecking ball, trying to stop it from knocking down an allegedly important landmark building. In fact, she’s always trying to stop such buildings from being knocked down. It’s her mission in life. The trouble is, she never seems to succeed.

Along the way, she picked up a law degree from Harvard and makes ends meet by living with her parents, using Chinese delivery in place of going grocery shopping, and doing legal aid work.

So what happens when an UberLiberal starts having romantic thoughts about an UberConservative, handsome, young Republican multimillionaire businessman who is everything she despises?

Probably something close to this movie.

Lovable loser number two is George Wade (Hugh Grant). In reality, he probably isn’t a Republican, but the next best thing — a Tory. He is an upper class British twit with too much money, reminiscent of Hugh Laurie’s rendition of P. G. Wodehouse’s Wooster, of Jeeves and Wooster fame. Wade is so out of it that when accepting a hospital’s Man of the Year Award, he enthuses to the press that he loves supporting pediatrics because feet are so important. Later, he compliments a housemaid from the Philippines by telling her that she looks like her nation’s former dictatrix, Imelda Marcos.

Wade makes his living by serving as the public face of his company — Wade Industries — which actually is controlled by his much less photogenic brother, Howard (David Haig). Wade also is a womanizer who has cheated on his (numerous) former wives.

And he happens to be in need of a competent (rather than simply a beautiful and womanizable) lawyer to direct his company’s legal affairs.

Guess what happens next!

Kelson comes to Wade because she wants his help to… (are you ready?)… stop a landmark building from being knocked down.

Wade quickly realizes that she has the potential to be the supercompetent Jeeves to his own incompetent Wooster and gives her a job offer on the spot, tempting her with the thought of using the millions of dollars his company allocates for charity and pro bono legal work to aid the worthy causes with which she is obsessed.

She says no. She agonizes. She promises her parents that she’ll be the same liberal that she always has. And she gives in.

As expected, Kelson starts to take care of the puppy-dog Wade in all kinds of ways not related to legal services, such as helping him pick out an appropriate suit to wear to a beauty competition he’s judging.

We start to find out that, though she is a total loser in one aspect of her life, she is indeed supercompetent in many respects. We also discover: So is Wade. While he may be clueless when it comes to some things, he’s ultrasharp in others. Relaxed and in touch with his own emotions, he enjoys casually psychoanalyzing the uptight Kelson, who is only in touch with one of her emotions: righteous indignation.

Eventually, Kelson starts to get tired of being psychoanalyzed and being used as an advisor for each of Wade’s tiny, personal emergencies, and she turns in her… (are you ready?)… two weeks notice .

At this point (about a third of the way into the film), the movie starts to get quite interesting. There are more plot twists than you would expect in a romantic comedy, and there’s a substantial amount of comedy here, too. There’s a good deal to laugh at, and the humor often is not only funny, but clever as well. I, for one, was pleasantly surprised (though as always with a contemporary comedy, one must expect some material for which one has to hold one’s nose).

It’s in the final act of the film that it really starts to fall apart.

Despite the film’s promise to give us a politically mismatched love story, Two Weeks Notice really does have an agenda. Hollywood doesn’t have the wherewithal to give us a romance between two equally-committed, equally-rational characters from different ends of the political spectrum.

One begins to realize that Wade isn’t the committed conservative he’s built up to be. He seems to have no strongly held views about anything, whereas Kelson is still the shrill radical she always was. It’s taken for granted that Big Business is a Bad Thing, and Kelson openly tells Wade that he uses his money "for Evil," though the film provides us no clue what kind of evil it is. Wade, for his part, passively acknowledges this and shows no interest in redeeming himself.

Just as on the Norman Lear TV series "All in the Family" (in which ultraconservative Archie Bunker always came across as less rational than ultraliberal Mike "Meathead" Stivic), the producers can’t bring themselves to do equal justice to both sides of the political debate, and it’s clear where their sympathies lie.

Of course, it’s a tall order to successfully pull off an interpolitical romance, but if that’s the goal you set for yourself, you have to be judged in terms of whether you succeed or fail.

This one fails, and not just politically.

By the beginning of the third act, our two would-be love birds have grown on each other — to the point that when they go to a restaurant they reflexively start taking from each other’s plates the food that the other one won’t want to eat. But just when you think that the two characters are about to finally connect romantically, the film takes a turn for the dark.

With any contemporary romantic comedy, one must remember that the characters live in a different moral universe. Except for unusual films like A Walk to Remember , none of the protagonists in this kind of movie have even the faintest idea of what marriage and sex are all about. Knowing that ahead of time, you just have to grit your teeth and try to look past it. Hopefully, that’s sufficient.

But not this time.

Though nobody (explicitly or implicitly) has sex during the course of the film, its "I don’t know what sex is for" morality really comes home to roost in the final act. It’s made quite clear that Wade seems not to have been redeemed from his womanizing ways. Indeed, the two leads seem to lose all attraction to each other just as they were getting together. The chemistry that was building between them in the second act is completely neutralized.

This is sustained, out of a misguided attempt on the filmmakers’ part to build drama, virtually until the end of the film. The audience actually starts to wonder: "Are these characters going to get together after all? Is this really a romantic comedy, or is it something else?" Not only has all the romance been sucked out of the film, so has all the comedy, and the viewer simply has to endure the final act.

As a result, the film’s eventual happy ending seems fake — tacked on — just like the semi-humorous epilogue it provides just when the audience thought the closing credits were going to roll.

Ultimately, Two Weeks Notice is like its characters — successful in some respects and a dismal failure in others.

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Sunday, March 10, 2024

Two weeks notice: a rom-com delight that's worth the watch.

Sandra Bullock takes center stage as the lovably quirky Lucy Kelson. From her passionate activism to navigating the unpredictable waters of being reluctant legal counsel for billionaire George Wade, Bullock's performance is a masterclass in charm and comedic brilliance. 

Lucy's story is not just about accepting a legal position that is the antithesis of her beliefs but a delightful exploration of self-discovery and unexpected love.

Hugh Grant's "George Wade": A Billionaire Trying to Find Himself

Hugh Grant's portrayal of George Wade is delightful. But pretty much everything Hugh Grant acts in is top-drawer. 

As the charming billionaire with a knack for self-centered mischief, Grant effortlessly brings out the humor and heart in his character. 

Wade's playboy persona takes a backseat as the story unfolds, revealing a surprisingly endearing side that adds depth to the romantic comedy dynamic.

Romance and Laughter Unleashed: The Perfect Blend

"Two Weeks Notice" masters the art of balancing romance and comedy. The banter between Lucy and George is a joy to watch, creating a dynamic that keeps audiences hooked from start to finish. For me personally, the best part of the movie is the script's banter. 

The witty script, coupled with the charismatic performances of the lead actors, makes for a movie that doesn't just entertain but leaves you with a warm, fuzzy feeling that lingers.

Supporting Cast Shines Bright

Alicia Witt, Robert Klein, Dana Ivey, and a stellar supporting cast elevate the film's humor and charm. Each character adds a unique flavor to the mix, contributing to the overall hilarity and heartwarming moments. 

The ensemble cast's chemistry creates a delightful synergy that enhances the film's appeal.

New York City: The Perfect Backdrop for Love and Laughter

The bustling streets of New York City serve as the picturesque backdrop for Lucy and George's romantic escapades. 

The city's energy and charm amplify the film's modern-day fairy tale vibe, adding an extra layer of romance to an already captivating story.

Enjoy a Cozy Night In with "Two Weeks Notice"

In romantic comedies, "Two Weeks Notice" is a timeless classic. Sandra Bullock and Hugh Grant's on-screen chemistry, witty script, and a touch of romance create a cinematic experience perfect for a cozy night in. 

So, grab your popcorn, settle in, and let Lucy and George whisk you away on a happiness-filled journey—you're in for a delightful treat!

I've seen this movie ten times or more, and I'm watching it again now.

You can find it on Amazon Prime .

About This Contributor

Barbara Tremblay Cipak is a writer, country music enthusiast, and home decor rebel who blames her decades in the real estate industry for her love of color! Since leaving neutral behind, she's built The Heart of Country Music where she writes about life's color in song and FunkthisHouse where former souls once trapped in neutral-decor-world roam free and funk'n love it! Barbara is also the author of the #Stumped Riddle Book Series. You can find her books, along with fun riddles for distraction, personal challenge, or parties at StumpedRiddles.com . Barbara’s riddles are meant to help you turn the world off with a smile!

6 comments:

I do remember watching this dleightful comedy. We both love it and thought it was so much fun. We loved the the movie and especially the ending. Thanks, Barbara, We ill have to watch it again.

Thanks so much for telling me about this movie, Barbara. I love anything with Sandra Bullock in it. One of my favorite.

It has been years since I saw this movie, but I definitely remember liking it. Might just be time to watch it again. I could use the break and I am always looking for a good movie. Thanks for the reminder!

I adore Sandra Bullock and High Grant always makes a great rom-com leading man. I saw this movie many years ago and it might be time to rebid it. I remember it being very enjoyable!

Thank you for reminding me about this film, we watched it a while back and really enjoyed it. Love a good romantic comedy and I think its time to watch it again :)

I had forgotten how funny this movie was... great reminder for a rewatch!

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I Regret to Inform You That I Can't Watch Two Weeks Notice Ever Again

It's a romantic-comedy tragedy.

I regret to tell you that I can never watch Two Weeks Notice ever again.

You might ask why a 2002 romantic comedy that stars international sweethearts Hugh Grant and Sandra Bullock has caught my ire in such a way. I mean, Hugh Grant! He plays George Wade, a super-wealthy boy-man who builds big buildings and ruins poor people's lives and dreams—a time-tested rom-com career convention:

Noughties angel Sandra Bullock stars as Lucy Kelson, a hippie-ish lawyer using her legal know-how to help communities, especially ones that gather in buildings (see where this is going?):

Plus, it's a light, fluffy romantic comedy—the kind of movie designed to make you feel nice inside, rather than like a giant, misshapen slug wearing a backpack full of sadness. But when I revisited Two Weeks Notice , I found several of its elements rather repulsive, which caused me to sigh huffily (but dramatically finish watching the whole thing anyway). Want to know what was so wrong with it? I will tell you.

1. The main female character gets a really raw deal.

Lucy Kelson is smart, opinionated, hardworking, and goal-oriented. She has a great relationship with her parents and with her one friend (yes, just one—but, you know, it's a movie).

In other likeable traits, she also has a serious thing for Chinese takeout and orders one billion things from the menu every time. V relatable, as Bridget Jones would say. It's good to have choices! All those little cartons! Just wonderful.

But poor Lucy doesn't really get what she deserves. As with all old-ish movies, I was willing to give the movie's narrative arc and characterization a little leeway. Most romantic comedies from this era are a little problematic and eye-rolly when you look back upon them; as we all know, in 2002, feminism hadn't even been invented yet. (JUST KIDDING.) But this movie really got on my nerves.

Principled Lucy takes a job with capitalism's drudge George on the condition that his development company won't knock down her family's local community center, where she spent practically all of her childhood. He's a difficult boss (more on that later), and she soon quits. But before she skedaddles, she gets drunk with him on a yacht, where she proceeds to tell him she's a "twisty bobcat pretzel" (which, incidentally, is also the name of my ukulele trio) in bed and hits on him.

To be fair, it's Hugh Grant, and: Same. But for this independent, intelligent, and typically professional woman to fall to pieces simply because she's drunk and recently broke up with her boyfriend is very annoying . Furthermore, the idea that this functional adult would fall for a guy who is basically a five-year-old (see below) is laughable.

If that's not bad enough, jealousy at June (Alicia Witt), the woman George hires to replace her, turns her into a petty weirdo who gets into a fight over a stapler. (Let's be clear, though—June was being petty first.) There's really nothing fun about watching two women fight over a stapler that is a metaphor for a man. It feels like sticking your head in a bucket of Patriarchy Slop.

In short, if you want to see a cool lady fall for a guy who deserves her, this is not your scene. Moving on.

2. The male character is an adult baby who can't do anything for himself.

As much as I hate to love/love to hate the rom-com trope of the grown man who just needs to pull himself up by his Bally bootstraps and learn how to be a responsible person, George is probably one of the most dire examples of his kind. Not only does he have a habit of sleeping with his young, female employees, but he's a terrible boss as well. He calls Lucy so often that she has to teach him the definition of "emergency" (a large meteoroid, severe blood loss, and death, FYI)—which he then chooses to totally ignore anyway when he just wants her opinion on which tie to wear.

When Lucy has finally had enough and wants to get a new job, George calls potential employers and tells them they can't hire her (????????). Then, he almost sleeps with Lucy's petty replacement. Finally, he breaks a huge promise he made to Lucy when his company plans to knock down the community center he'd promised to save—even though that was the only reason she agreed to work for him in the first place. NOT COOL, DUDE.

While he is played by the beautiful and scampish Hugh Grant, George doesn't really have any positive attributes. (Fine, I think he donates some money to hospitals or whatever.) He's clingy, controlling, helpless, and has no boundaries. Yuck. He is like the movie Big , except there is no child pretending to be a delightful adult Tom Hanks here. George really is just a big baby.

And finally...

3. Donald Trump is in it.

And I'm out. When #45 pops up at in a party scene, since he too is a property "tycoon," it is like seeing a squiggly green worm in your extremely average lunch salad (would much rather a sashimi platter or some pancakes, if I'm being honest). Can I send it back to the kitchen?

Anyway, I'm sorry to ruin your day, or even your week, but there it is. Farewell, Two Weeks Notice . It was nice knowing you.

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FILM REVIEW

FILM REVIEW; Is She an Ugly Duckling? No, She's a (Gasp!) Swan

By Stephen Holden

• Dec. 20, 2002

Breezing along on gusts of stale air and perky inanities, ''Two Weeks Notice'' is a romantic comedy so vague and sadly undernourished that it makes one of Nora Ephron's low-cal strawberry sodas seem as tempting as a Philip Barry feast. As George Wade (Hugh Grant), a rich, piggy New York real estate developer, and Lucy Kelson (Sandra Bullock), the Brooklyn-based environmental lawyer he hires as his chief counsel, spar and parry, you are supposed to think Cary Grant and Irene Dunne, or Tom Hanks and Meg Ryan.

How long will it be before the yammering, brainy lawyer shuts up and succumbs to her boss's rakish charms? And once he realizes her true worth (she boasts that she makes love like ''a bobcat pretzel,'' whatever that is), how long before her kisses instill him with a teeny-weeny blip of social conscience? After you've endured a half-hour of the movie's toothless sitcom dialogue, the answer is the sooner the better.

''Two Weeks Notice'' -- the first feature directed by Marc Lawrence, a writer of the beauty pageant spoof ''Miss Congeniality,'' a far wittier film that also starred Ms. Bullock -- is so desperate for laughs that it ends up looking for them in the bathroom. Even then it comes up short. Its most ambitious joke is to give Lucy a sudden attack of diarrhea in the middle of a traffic jam while she and George are driving back to Manhattan from a Mets game at which she consumed too much junk food.

Her chivalrous boss insists they abandon the car then and there, and he bribes the driver of the nearest trailer to let Lucy use the toilet. While she groans and retches in the background, George gallantly makes small talk with the Kentucky rednecks who have taken them in.

But what's one abandoned car, anyway, to a man as rich as George? When they reach a shopping center, he has his company helicopter fly in to whisk the couple back to Manhattan. In a movie that worships wealth while pretending to have a social conscience, that scenic ride is the swooning equivalent of a trip to the Moon.

''Two Weeks Notice,'' which opens today nationwide, seems to be more about star casting than about love, politics, business or anything else. And at least on paper the pairing of Mr. Grant and Ms. Bullock (who produced the movie) makes sense. He specializes in stammering Prince Charmings who, with a flick of their scepters, confer a swanlike grace on the avaricious, not-so-ugly ducklings swarming around them, tin cups in hand. She specializes in feisty independent tomboys in flight from their inner princesses, whose pesky, demanding hormones lead them back to true love despite their principles. Had these two clicked on the screen, they might have emerged as Hollywood's new odd couple: Prince Charming and his radiant made-over Minnie Mouse.

But ambling through their screwball paces, the stars exhibit so little personal chemistry that they seem barely aware of each other. When, late in the movie, Lucy gets dolled up for a fancy bash, and George really notices her for the first time, his look of love is so unconvincing it confers no sparkle. As the camera admires Ms. Bullock through his eyes, Minnie Mouse looks more like Michael Jackson in drag than Cinderella.

''Two Weeks Notice'' might not seem quite so fatuous had it not appeared years after ''Sex and the City'' raised the bar on urban romantic comedy and sharpened pop cultural discussions of sex, money and social mobility. Although the genre still allows mice to turn into princesses and frogs into princes, nowadays those transformations require some credible explanation.

But Mr. Grant's George, an American with a British accent and apparently a testosterone deficiency, exudes barely a trace of the wheeler-dealer chutzpah his real estate career would demand. The movie's suggestion that this hard-boiled softy is a suave lothario who would hire bimbo lawyers with dubious academic credentials just to sleep with them is ludicrous.

Ms. Bullock's Lucy is only marginally more believable. Despite her Harvard Law School background, this character, who must be pushing 40, still lives near her parents in Coney Island. When she's home alone at night, she orders three times as much Chinese takeout as she can consume. Isn't that cute?

For these predestined sweethearts to connect, of course, George must eventually change his ways. All it takes to turn this moral monster into Mother Teresa is for him to agree not to raze a community center in Lucy's neighborhood. That decision entails a painful sacrifice. From now on George will have to share the company helicopter. Talk about cut-rate redemption, Hollywood style.

''Two Weeks Notice'' is rated PG-13 (Parents strongly cautioned) for some strong language and mild sexual situations.

TWO WEEKS NOTICE

Written and directed by Marc Lawrence; director of photography, Laszlo Kovacs; edited by Susan E. Morse; music by John Powell; production designer, Peter Larkin; produced by Sandra Bullock; released by Warner Brothers Pictures. Running time: 100 minutes. This film is rated PG-13.

WITH: Sandra Bullock (Lucy Kelson), Hugh Grant (George Wade), Alicia Witt (June Carter), Dana Ivey (Ruth Kelson), Robert Klein (Larry Kelson), Heather Burns (Meryl), David Haig (Howard Wade) and Dorian Missick (Tony).

TWO WEEKS NOTICE

What You Need To Know:

(PCPC, ACap, Ev, B, Ro, Ho, Fe, L, S, AA, M) Politically correct worldview of left-thinking protagonist, shown in slurs about Republican presidents, anger at big bad industry ruining the community, hyper-environmentalism, help-the-welfare-folks-and-fight-the-industry mentality with some moral elements with lying rebuked and contribution toward the welfare of others encouraged, but disparaging remark made that "saints are boring" and some Romantic elements with emotion-based decisions as well as some light pro-homosexual humor and feminist elements; light foul language with about four mild obscenities and a small amount of scatological humor; no violence; some risqué sexual talk by an inebriated Sandra Bullock and allusions to sex with Hugh Grant character playing "strip chess" with scantily-clad new lady lawyer, but no nudity actually shown; several instances of alcohol use with drunkenness; and, lying and cheating, but both are rebuked.

GENRE: Romantic Comedy

More Detail:

In TWO WEEKS NOTICE, Lucy Kelson (Sandra Bullock) is an unlikely candidate for the new position of staff lawyer at Wade Enterprises, owned by thrice-divorced industrial tycoon George Wade (Hugh Grant). Lucy is a Harvard graduate and the daughter of two very sincere, help-out-the-environment-and-the-little-guy attorney parents, who live in a small apartment in New York (with Kennedy stickers on their refrigerator.) George has been a silver spooner from day one. He and his brother are madly trying to get around the irritating little people intent on restraining him from tearing down a beloved community center on Coney Island.

When George accidentally bumps into the bumbling lawyer, Lucy (played by Sandra Bullock who is so good at the Steve Martin-type physical humor), he finds out she’s a Harvard grad. He makes her a hasty offer of a $250,000 yearly salary. She takes it in hopes of doing some good at the company and ushering in some compassionate reforms.

As Lucy gets rolling with her new job, she soon finds out that George is way too demanding of her. He calls her at home at strange hours for the slightest reasons, and he requires her opinion on every single matter at the office and personally. Finally, after getting an ulcer, Lucy tries to quit. She finds that she can’t, however, because she wrote her own impeccable employment contract, and her attorney parents agree that it’s airtight! George not only refuses to let her out of the deal, but he sabotages her every attempt to secure alternate employment!

Lucy decides that her strategy should be two-fold: try to get herself fired, and hire a replacement that will distract George from his insistence on keeping her. Both tactics end up showing Lucy what is really in her own heart. Especially when her replacement turns out to be a gorgeous, smart redhead who turns George’s head. Lucy struggles hard with many conflicting emotions, and, as George points out, there has to be something in her that likes the excitement he offers. As with all performance-oriented people, she sets standards for herself and others that are unattainable. When she challenges George’s compromising ways, he tells her, “No one wants to be preached at to live like a saint. Saints are boring!”

After some personal soul-searching, George’s eyes begin to be opened. He realizes that even spoiled rich boys can develop a heart, a conscience and maybe even find true love.

Many movies of late have portrayed characters with various problematic relationships with their fathers. TWO WEEKS NOTICE, however, reveals the telltale footprints of a domineering mother and her unattainable expectations that lead to a weighty performance orientation in the child.

There are lots of very funny parts to this movie. As a matter of fact, in a recent television interview, Hugh Grant said that he was laughing so hard when he read his lines that he could hardly get some of them out. Some of the humor is silly, but relatable, like when George keeps flushing the toilet when his brother is showering, causing the brother to yell out each time the shower water goes hot. There are also the ageing parents who are watching their cholesterol. The mom says to the dad, “Your cholesterol is over 300. You’re basically a solid.” When Lucy tries, unsuccessfully, to quit the company and George won’t let her, she tries to get herself fired by tossing gum across the room. George’s stuffy British brother steps on the gum and throws fits trying to get it off his shoe.

Regrettably, the worldview is politically correct, with generally light elements of feminism, environmentalism, homosexuality, and anti-wealth/anti-capitalism. There is some silly sexual talk when Lucy is drunk, and there is a scene where her replacement entices George into playing “strip chess,” but there is no nudity shown. There are overt reprimands for lying and deceiving and there is a strong, supportive (albeit left-wing) father, who states at the end, “As long as people can change, the world can change.” If only they understood that a true heart change comes from knowing the One True God as an intimate friend through the sacrifice of His Son, Jesus!

Overall, TWO WEEKS NOTICE is a cute, funny, romantic comedy, but family discussion would be in order due to some of the dubious worldview elements.

Please address your comments to:

Barry M. Meyer, Chairman/CEO

Warner Bros., Inc.

4000 Warner Blvd.

Burbank, CA 91522-0001

Phone: (818) 954-6000

Website: www.movies.warnerbros.com

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Two Weeks Notice (2002): A Romance Starring RomCom Royalty

Two weeks notice review.

By mid-2000, the age of the romantic comedy was fading fast, leaving only the nostalgia of a glorious time gone by. Two Weeks Notice was one of Hugh Grant’s last forays into the genre, although Sandra Bullock still had The Proposal up her sleeve as her biggest rom-com hit. On-screen together, I couldn’t help but feel like I was watching some version of romcom royalty go about their business.

You Make Gandhi Look Like A Used Cars Salesman

Two Weeks Notice starts with Lucy Kelson (Sandra Bullock) a Harvard educated lawyer who is passionate about the environment and her community. She is most likely the definition of a do-gooder or a tree hugger. Anti corporations, Lucy is a lone crusader for causes she feels passionate about. These usually include trying to stop the demolition of old buildings that have meaning to the communities that live around it.

In an effort to save her local community center, Lucy studies and then confronts George Wade (Hugh Grant), a wealthy, spoilt millionaire who cares little for anything except the bottom line. Perhaps that’s not quite true though. Yes, he isn’t particularly altruistic, but George is also just the figurehead of his families company due to his handsome looks and charming personality. His brother Howard (David Haig) is really the man pulling all the strings behind the scenes.

RELATED:  Notting Hill (1999) – A Classic Romantic Comedy with Fairytale-esque Qualities

George, a notorious womanizer, realizes that Lucy is smart. Seeing as he was forced to fire his previous less than competent legal counsel, he hires Lucy in exchange for saving her precious community center. Despite her reservations, Lucy agrees and quite rapidly, becomes George’s right-hand woman.

All too soon, however, the lines between their personal and professional lives blur and in an attempt at self-preservation, Lucy offers George her two weeks notice. She promises to help him find a replacement before disappearing from his life forever. Initially, this doesn’t sound like a bad plan. But George realizes he actually enjoys her counsel and her company. And Lucy realizes that perhaps her feelings run deeper than she had anticipated. Can George and Lucy navigate the complexities of business and pleasure?

I Find You… Annoying

I’m a huge, huge fan of Hugh Grant’s. It’s true that he basically plays the same character in every romantic comedy. However, it continues to be the most charming sight to behold. George doesn’t take himself very seriously and is generally a teenager in an adult’s body. As you can imagine, Hugh Grant plays this type of character to perfection. He’s funny, self-deprecating and incredibly charming. He’s also annoying and selfish, while simultaneously showing bouts of kindness. Hugh Grant is playing Hugh Grant. But as I said, I’m certainly not complaining.

I have an ulcer, I don’t sleep well, mostly because you keep calling me in the middle of the night, and if you don’t call me I dream that you’re gonna call me. I think about you in the shower…not in a good way, but in an I’m-so-distracted-I-can’t-remember-if-I-washed-my-hair kinda way – so I’ll wash my hair twice!

Sandra Bullock, however, is an incredibly graceful and funny actress. She has great comedic timing and I really like her in romantic comedies. There are moments where it seems like Hugh and Sandra are laughing in scenes that don’t quite seem scripted. And I realize I enjoy the idea of these two having fun in real life, and seeing it translate so well on screen.

They have an easy, natural chemistry that’s dare I say… comforting? It’s true, their spark isn’t creating a snap!crackle!pop! of fiery chemistry, but their dynamic still works in its understated way. Alongside the romcom royals, Alicia Witt, Dana Ivey, and Robert Klein also star as the third wheel in a love triangle and Lucy’s parents respectively.

You Need Someone Who Can Write A Brief Instead Of Removing Yours

Two Weeks Notice is not the best example of a romcom out there. Even among Hugh Grant’s offerings, there are funnier, more romantic films in his portfolio – Notting Hill, Four Weddings and a Funeral and of course Love Actually (although that’s a large ensemble of course). Two Weeks Notice lacks some depth and although George is handsome and charming, he isn’t very interesting. I would have loved to get to know George as more than just the carefree lothario, which might have made his position at the top of a multi-million dollar company more plausible.

This person, despite being unusually stubborn and unwilling to compromise and a very poor dresser, is… she’s rather like the building she loves so much. A little rough around the edges but, when you look closely, absolutely beautiful. And the only one of her kind.

Sandra Bullock also oscillates between dowdy hippy, straight-laced corporate and cute girl next door which is a little confusing. It’s as if the wardrobe department was trying to tell a story through her costuming, but didn’t quite know where to put the stake in the sand. Having said that, Sandra Bullock is so gorgeous, it really doesn’t matter what she’s wearing. Like Hugh Grant, she is affable and therefore generally a joy to watch.

From a storytelling perspective, Two Weeks Notice is pretty light on the overall romance. While George and Lucy verbally spar with each other, their attraction is generally sparked by the “transformation” scene quite late in the film. I believe this movie would have benefitted by ramping up the romantic tension between the characters sooner.

Actually, This Is For Two

Overall , Two Weeks Notice is not the best romcom out there, but it has its moments. Hugh Grant and Sandra Bullock are funny, charming and go a long way towards making this a worthwhile watch. Also, Hugh Grant knows how to deliver a romantic monologue. Two Weeks Notice gives him that opportunity and he certainly doesn’t squander the opportunity!

RELATED:  The Rewrite Film Review: A Hugh Grant Romantic Comedy

Where to Watch: Two Weeks Notice is available for sale or to watch on Amazon. It can also be streamed on Netflix US and Amazon Prime.

Content Note: Two Weeks Notice is rated PG-13 for some sex-related humor.

Have you watched Two Weeks Notice ? Is it one of your favourite Hugh Grant romantic comedies? Comment below and let me know!  

Photo Credit: Castle Rock Entertainment, Village Roadshow Pictures

OVERALL RATING

“I think this is the beginning of a beautiful

friendship.”

ROMANCE RATING

“Happiness in marriage is entirely a

matter of chance.”

ARE YOU A ROMANCE FAN? FOLLOW THE SILVER PETTICOAT REVIEW:

Naazneen hails from South Africa and has spent most of her life steeped quite happily in fandom. A corporate Human Resource professional by day, she completed her undergraduate degree in Psychology and is currently completing her MPhil at the University of Cape Town. She spends her nights in a parallel universe where her creative pursuits find meaningful outlets. When she is not doing research, writing fanfiction or reading the latest novel for her book club, she is voraciously consuming information on pop culture and global socio-political issues - or quite simply, travelling the world. She loves words, fangirling shamelessly, Mr. Darcy and rugged beards... a lot.

More posts by this author.

1 thought on “Two Weeks Notice (2002): A Romance Starring RomCom Royalty”

My son, who has Autism, was obsessed with this movie for 3 years. We watched it a LOT..suck a cute, romantic movie. I just adore Hugh Grant.

Comments are closed.

Two Weeks Notice (United States, 2002)

What can I write about Two Weeks Notice that I haven't written about every mediocre romantic comedy to come down Hollywood's pipeline? There's the cotton candy comparison – the movie is sweet (sometimes too sweet) and airy, with so little substance that it teases without sustaining or satisfying, and is instantly forgotten the moment it is gone. Or the city snowfall metaphor – fresh and full of promise to start, then growing progressively less appealing as the fluff turns to slush. Both are apt when it comes to Two Weeks Notice , a movie that is relentlessly inoffensive and completely unoriginal – two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.

Men and women who go to romantic comedies for no reason other than to see a pair of improbably matched screen characters fall in love will find that Two Weeks Notice fills the bill. Director Marc Lawrence, making his feature debut, knows his target audience, and hones in on them with a singleminded purpose that will alienate nearly everyone else. Yet even for that crowd, there's a flaw. The movie's inevitable happy ending seems rushed. Those who enjoy savoring the payoff may feel that they are being given the bum's rush. Two Weeks Notice is almost all buildup, the romantic comedy's foreplay.

The film's stars, despite both being romantic comedy veterans, are not well matched. Their chemistry is fitful. There are occasional sparks, but they don't last. Part of the problem is Sandra Bullock's Lucy, who is, quite frankly, uninteresting. It's difficult to say whether I'm bored by the actress or this, her staple alter ego, but I spent a good portion of the film wondering why I once found Bullock to be charismatic. Hugh Grant, on the other hand, is a spark plug – lively, charming, and energetic. He delivers nearly every line of dialogue with his trademark panache. He is good enough that he saves more than one scene when Bullock can't carry her own weight.

Lucy Kelson (Bullock) is a liberal lawyer who spends her days protesting the demolition of old buildings by soulless megacorporations. The frequent target of Lucy's protests is George Wade (Grant), a Donald Trump-like bazillionaire whose company makes money by "modernizing" communities. Lucy sees herself as anti-gentrification. George views her as anti-progress. Yet, through a strange set of coincidences, she ends up working for him as his chief counsel. He is impressed by her skills, and the carrot that gets her to accept the job is that, in her position, she can do more good than as an outsider looking in. Over the course of the months during which she works for George, Lucy becomes indispensable, yet her function evolves into more of a personal assistant than an attorney. Eventually, fed up with menial tasks like choosing which suit he should wear, she gives her notice. But, as she prepares to depart, she and George discover that their feelings may run deeper than those of employee and employer.

You know where this is going. I know where this is going. Everyone knows where this is going. The road is mostly clear, cluttered only by the usual misunderstandings that enable a fairly simple romantic comedy like this to stay on the screen long enough to be called a feature film. Lucy has a boyfriend, although we never see him. And her vixen-like replacement (Alicia Witt) makes a blatant play for George right under her nose, which doesn't sit well with Lucy – especially when she walks in on them in the midst of a friendly game of strip chess. Two Weeks Notice is too bland to be either genuinely pleasant or aggressively annoying. Like all but the best romantic comedies, it's unthreatening and disposable.

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Two weeks notice.

• Parents say (3)
• Kids say (9)

Based on 9 kid reviews

Nice short film!

Report this review, predictable but enjoyable romcom has its moments.

This title has:

Cute movie, to many innuendues

Only rom-com i like, decent movie, cute but slightly tedious romcom with excessive sexual references and drinking, appropriate for 10 and up. very cute romantic comedy, check out my page for more great recomendations.

The 10 Most Underrated Sandra Bullock Movies, Ranked

When was the last time you streamed one of these Sandra Bullock movies?

An action star, rom-com queen , and Oscar-winning actress are all terms of endearment for Sandra Bullock . Since 1987, Bullock has predominately graced the silver screen, translating her immense talent from genre to genre. Winning her first Oscar nomination for Best Actress for The Blind Side , her name is associated with much acclaim and respect with movies like Gravity and iconic titles like While You Were Sleeping and Miss Congeniality .

While Bullock's had her fair share of films that failed to miss the mark, certainly not from her performances, there are surely a collection of titles that are criminally underrated and often forgotten. From season favorites to hopeless romances, Bullock's most underrated movies are worth revisiting just as much as her best critically-acclaimed performances .

10 'Bullet Train' (2022)

Directed by david leitch.

Underrated and underappreciated, Bullock's brief role in Bullet Train deserved much more. After too many jobs-gone-wrong, Ladybug ( Brad Pitt ), an assassin, wants to take a different approach; however, once again, things don't go according to plan as his next mission involves handling a slew of connected adversaries on the world's fastest speeding train . Bullock stars as Maria Beetle, Ladybug's handler.

For most of the film, Bullock's presence is only through the voice in Ladybug's earpiece, but f ans of Bullock's know her lasting, stabilizing impact, even with the smallest of roles or limited screen time. While the film didn't quite punch the ticket for critics, audiences recognized the entertainment value, some claiming that if a sequel ever happened , it should go to Bullock's character.

Bullet Train

Bullet Train can be streamed on Netflix in the U.S.

Watch on Netflix

9 'Extremely Loud & Incredibly Close' (2011)

Directed by stephen daldry.

Resonating with audiences more than with critics, Extremely Loud & Incredibly Close is a performance by Bullock that is always overlooked. When husband and father Thomas ( Tom Hanks ) dies following the events of 9/11, Linda (Bullock) and her son Oskar ( Thomas Horn ) are left to pick up the pieces. As Linda grieves, Oskar sets out on an adventure to find meaning in a mysterious key Thomas left behind.

The drama is based on the novel by Jonathan Safran Foer and earned two Oscar nominations, including Best Picture, despite missing the mark for critics. Bullock's performance as a widowed mother in the face of unexplainable tragedy as her son tries to find meaning in the seemingly meaningless, deserves as much praise as her notable career performances.

Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close can be streamed on Apple TV in the U.S.

Watch on Apple TV

8 'The Lake House' (2006)

Directed by alejandro agresti.

The Lake House is a drama about the hopeless romantic reuniting the most iconic pairing of the 90s . In a fantastically complicated romance, Kate (Bullock), a lonely doctor, exchanges a series of love letters with architect Alex ( Keanu Reeves ) as they both live a separate life two years apart in the same lake house. The pair long to meet but must first understand the complexities of their time-spanning relationship.

Setting aside the convoluted nature of the premise, The Lake House is overshadowed by the duo's famous feature Speed ; however, Bullock and Reeves succeed in portraying palpable yearning in a romance that is 100% unrealistic. But that is exactly why audiences turn to the movies. It's a fantasy dramatic romance tale that audiences turn a blind eye to the far-stretching plot, soaking in the wonder of it instead.

The Lake House

The Lake House can be streamed on Amazon in the U.S.

Watch on Amazon

7 'The Unforgivable' (2021)

Directed by nora fingscheidt.

In another turn with Netflix originals, Bullock returns to the gritty as Ruth Slater in The Unforgivable . Following her release from a 20-year prison stint, Ruth attempts to return to society, quickly discovering her past crime has not been forgiven all the while she attempts to reconnect with her estranged sister.

Streaming audiences were happy to be treated to yet another gripping performance from Bullock, a far departure from her acclaimed rom-coms and heartfelt humor. Bullock remains one of those stars that can flip 180 and deliver a character that takes audiences through the darkest parts of emotion through their character portrayal. Alongside Bullock is Viola Davis , Vincent D'Onofrio , Jon Bernthal , and Richard Thomas .

The Unforgivable

The Unforgivable can be streamed on Netflix in the U.S.

6 'Divine Secrets of the Ya-Ya Sisterhood' (2002)

Directed by callie khouri.

Based on the novel by Rebecca Wells , The Divine Secrets of the Ya-Ya Sisterhood produces its fair share of melodrama while still hitting viewers in the heart with a story of love and forgiveness packed with nostalgia . Bullock stars as Siddalee, a young Louisiana woman who becomes the subject of an intervention when her mother's lifelong friends give her a scrapbook with the hopes of bringing the mother-daughter pair back to each other after years of tension and estrangement. The scrapbook chronicles her mother's youth and the adventures of the "Ya-Yas."

This isn't some goddamn recovered memory, I wish I could forget it! You all have your little Ya Ya scars but that is nothing compared to what she left on me, and all I'm saying is if there's even one drop of that in me, I am better off alone! - Sandra Bullock as Siddalee

With a strong cast including Ellen Burstyn , Maggie Smith , James Garner , and Ashley Judd among them, Bullock holds her own. Siddalee's angry, stubborn nature in the present paralleled with the wild and determined spirit of a young Vivi (Judd) demonstrates an emotional dynamic of like-mother-like-daughter. It's no Steel Magnolias , but this drama deserves a second look for a feature about sisterhood .

(ADD VALSTREAM)

Divine Secrets of the Ya-Ya Sisterhood can be streamed on Amazon in the U.S.

5 'Ocean's 8' (2018)

Directed by gary ross.

Touching an iconic franchise is always a risk, especially in an era where audiences crave original stories . In this girl gang heist, Bullock is Debbie Ocean fresh out of prison as she gathers a group of all-female thieves and hustlers to steal a $150 million diamond necklace from actress Daphne Kluger ( Anne Hathaway ) at the Met Gala. Co-starring alongside Bullock are Cate Blanchette , Mindy Kaling , Helena Bonham Carter , Sarah Paulson , Awkwafina , and Rihanna .

The perfect ladies-night in movie, Ocean's 8 is an action comedy that could've reached its full potential with an original premise ; however, Bullock is stellar as the cunning Debbie Ocean. It's a film with a stable entertainment value made somewhat whole by its star-studded cast led by the veteran Bullock.

Ocean's 8 can be streamed on Max in the U.S.

Watch on Max

4 'The Proposal' (2009)

Directed by anne fletcher.

Teetering on the edge of morally gray, Bullock as no-nonsense book editor, Margaret Tate , goes down as one of the best 2000s rom-com leads. Facing deportation, Margaret forces her assistant Andrew ( Ryan Reynolds ) to marry her; however, Andrew has a few professional and personal conditions of his own, one of which includes the pair flying to Alaska for his grandmother's 90th birthday party.

Audiences turn to this genre because the familiarity of its structure keeps expectations low and values high when its romantic pairing exhibits immaculate chemistry. The Proposal does just that and deserves more credit to both Bullock and Reynolds than critics gave it. Formulaic, yes. A disappointment to the genre, absolutely not. The way Margaret and Andrew feed off each other is hysterical and emotional all at the right moments. Who doesn't remember the infamous chanting scene with Betty White ?

the proposal

The Proposal can be streamed on Hulu in the U.S.

Watch on Hulu

3 'The Prince of Egypt' (1998)

Directed by brenda chapman, steve hickner, & simon wells.

This was her first voice acting role, with only a career of two animated roles (so far). In the hit The Prince of Egypt , Moses (voiced by Val Kilmer ) discovers he is not an Egyptian Prince by blood, but rather a Hebrew saved at birth with a destiny to lead his people to salvation. Audiences often forget that among the stellar voice cast of Kilmer, Ralph Fiennes , Michelle Pfeiffer , Steve Martin , Martin Short , Jeff Goldblum , and more is Bullock.

Bullock provides just the speaking voice of Mose's biological sister, Miriam, while t he singing voice was provided by Sally Dworsky and director Brenda Chapman . Through Bullock's voice acting, audiences are able to hear the desperation in Miriam's voice as she pleads to convince Moses of his family history. While the film itself is a highly-rated Oscar-winning feature, it's rarely involved in association with the best of Bullock's performances, making it underrated in this conversation .

The Prince of Egypt

The Prince of Egypt can be streamed on Peacock in the U.S.

Watch on Peacock

2 'Two Weeks Notice' (2002)

Directed by marc lawrence.

Buried within a collection of rewatchable 90s and 2000s rom-coms , Two Weeks Notice is a criminally underrated feature starring Bullock alongside Hugh Grant . The pair star as George Wade, a business tycoon, whose moral compass is rerouted closer to North after he meets and hires an activist lawyer, Lucy Kelson (Bullock). Lucy becomes so overwhelmed by George's hyper-dependence that she puts in her notice and searches for her replacement.

While the pompous elite falling for the honest hardworker isn't new to the rom-com genre, Bullock and Grant are a smart pairing that flew under the radar for both stars during their prime in the genre. Bullock's Lucy is strong-willed and driven and the moment she feels she's compromising her values, she heads for the door, forcing Grant's indecisive George to get his act together or lose Lucy. It is another installation in Bullock's strong female character archive.

Two Weeks Notice

Two Weeks Notice can be streamed on Apple TV in the U.S.

Watch on AppleTV

1 'Practical Magic' (1998)

Directed by griffin dunne.

A divisive title between critics and audience opinion, Practical Magic evolved into a staple for Halloween fans every year. Bullock and Nicole Kidman star as magical sisters Sally and Gillian Owens. Practical and responsible, Sally stays in their coastal hometown to run an apothecary, while wild and ambitious Gillian travels the world, meeting her dangerous boyfriend Jimmy ( Goran Visnjic ). When Jimmy dies suddenly, the girls attempt to resurrect him, accidentally infusing an evil spirit into him that threatens their family's magical existence.

In this page-to-screen adaptation of Alice Hoffman's 1995 novel, Bullock is strategic in her portrayal of the simply complicated Sally. She distances her life and her daughter's involvement with magic, all for it to come full circle as it strengthens her bond with Gillian while producing a romance that she's never known. With the iconic "Coconut" song scene, its beautiful score, and memorable lines, Practical Magic is symbolic of autumn and an overlooked title in Bullock's career.

Practical Magic can be streamed on Amazon in the U.S.

NEXT: The 10 Best Julia Roberts Movies, Ranked

A rediscovered gem from Charles Burnett, plus the best films to see in L.A. this week

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Hello! I’m Mark Olsen . Welcome to another edition of your regular field guide to a world of Only Good Movies.

Ahead of the opening of writer-director Alex Garland’s “Civil War” next week on April 12, I spoke to the film’s stars Kirsten Dunst and Cailee Spaen y about their dynamic, on-screen and off.

In the film, Dunst plays Lee, a veteran photojournalist attempting to make her way across a war-ravaged America to an interview with the president, holed up in the White House. She meets aspiring photographer Jessie, played by Spaeny, and takes her along. While the film is a provocative powder keg about the polarization dividing people around the world (its nightmare scenario seems all too plausible), “Civil War” is also a tender examination of legacy and what we leave behind.

The relationship depicted in the film between the two women, each drawing something from the other, is mirrored somewhat by the friendship off-screen between Dunst and Spaeny. In fact it was Dunst who recommended Spaeny to filmmaker Sofia Coppola for the title role in “Priscilla.”

“Those parallels aren’t at all how I feel I would talk to Cailee about being an actress or something,” said Dunst of the connections between their characters and themselves. “But it wasn’t something I was thinking about while we were making it because it’s kind of corny to think about in that way. Like, ‘I’m the mentor and you are the mentee.’ It’s so much deeper than that.”

Says Spaeny, “A lot of the times I meet other actors, especially actors who have been working in the industry for a while, they have a sort of wall up. Kirsten doesn’t have that. She wears her heart on her sleeve and it makes you feel like you can be your 100% self around her.”

We’ll have more on the film next week.

UCLA Festival of Preservation

The 21st edition of the biennial UCLA Festival of Preservation opens tonight with the West-Coast premiere of the restoration of Charles Burnett’s 1999 film “The Annihilation of Fish.” After the film first played at the Toronto International Film Festival, a single negative review in Variety scared off any potential buyers and the project languished in limbo. It has never been distributed on 35mm, DCP, VHS, DVD, Blu-ray, television or streaming. Having changed hands a number of times over the years, the rights and elements for the film were eventually retrieved in part through California bankruptcy court.

A gently comic, humanist tale, the film follows two aging eccentrics, Obediah Fish (James Earl Jones) and Poinsettia (Lynn Redgrave), who meet and begin a tentative romance when they are neighbors in a boarding house run by Mrs. Muldroone (Margot Kidder).

The evening will also be a celebration of Burnett’s upcoming 80th birthday, with the filmmaker in conversation with critic Elvis Mitchell before the screening. Burnett, whose films include 1978’s “Killer of Sheep” and 1990’s “To Sleep With Anger,” was awarded an honorary Oscar in 2017 . In a statement announcing the restoration of “The Annihilation of Fish,” Martin Scorsese said, “Charles Burnett is one of the finest filmmakers in this country. His pictures speak in a cinematic voice that is uniquely and completely his own. For much too long, ‘The Annihilation of Fish’ has been in limbo. … I’m so happy that it’s finally ready for the world to discover.”

When the film played in September 2000 as part of the Silver Lake Film Festival, The Times’ Kevin Thomas wrote positively about it , noting it “is so theatrical in nature that it could go fatally awry at any moment, lapsing into excess or mere whimsy. But the solid subtext to Anthony C. Winkler’s script and the ability of director Charles Burnett to see Winkler’s seeming crazies steadfastly as real people first of all allows Lynn Redgrave, James Earl Jones and Margot Kidder to soar. … Poinsettia is a would-be Blanche DuBois made brave and tenacious by love, and Redgrave surpasses her Oscar-nominated performance in ‘Gods and Monsters.’”

Kenneth Turan runs down a number of other highlights from this year’s festival , noting, “It’s not just gorgeous new versions of films you’ve never seen or seen only in diminished condition. The UCLA event inevitably includes remarkable movies you never even knew existed, films that expand our knowledge of the extent of the vast cinematic universe.”

Among those titles Turan spotlights are the 1925 silent German version of “A Midsummer Night’s Dream” that was thought to be completely lost until a print was discover buried under a cellar floor coated in machine oil somewhere in Oregon. There is also the 1952 film noir “No Abras Nunca Esta Puerta/Never Open That Door” from Argentina.

The festival closes with “Smog,” an Italian-language film from 1962 shot in Los Angeles. As Turan writes, “The plot, about a tourist taking in the city between flights, is not spectacular, but the extensive black-and-white views of how things looked here 60 years ago are a knockout. You may not have known about this film, but watching it will widen your horizons, something this festival has always specialized in.”

The inaugural Los Angeles Festival of Movies is underway

The first Los Angeles Festival of Movies kicked off Thursday night with the Los Angeles premiere of Jane Schoenbrun’s evocative coming-of-age saga “I Saw the TV Glow.”

“This is special,” said Schoenbrun introducing the screening. “It’s the opening night of the opening edition of the festival. So that’s trivia.”

The festival continues through the weekend, with other highlights including the docu-fiction hybrid “Gasoline Rainbow,” the restoration of Niki de Saint Phalle’s 1976 “Un rêve plus long que la nuit” presented by curator Miriam Bale, and the closing night world premiere of Conner O’Malley and Danny Scharar’s satirical “Rap World.”

A real discovery of the fest might land on Saturday afternoon with the Los Angeles premiere of the 4K restoration of Bridgett M. Davis’ 1996 “Naked Acts,” with the filmmaker in person in conversation with Black Film Archives’ Maya S. Cade. Initially self-distributed, the film is an exploration of Black female sexuality and identity and the struggles to live a creative life, told through the story of an actor grappling with whether to perform a nude scene.

Saturday will also see a conversation between filmmakers Raven Jackson and Kahlil Joseph, while Sunday will feature a talk between musician Kim Gordon and author Rachel Kushner.

In our interview back in February announcing the festival , co-founder and co-producer Sarah Winshall said, “What we’re trying to do is treat Los Angeles like a small town in some ways, and create a festival for a small community that is really excited and passionate.”

Other points of interest

Bertrand Bonello’s ‘The Beast’

The French filmmaker Bertrand Bonello has become a real favorite around these parts, as his films often cast an eye to the past while also capturing a sense of the anxieties of what it is to live today. Two of his best films, “House of Pleasures” and “Nocturama,” are currently available on the Criterion Channel .

His electrifying new movie “The Beast” is in theaters now. Loosely adapting a 1903 Henry James novella, Bonello fractures the story to take place in three time periods: Paris in 1910, Los Angeles in 2014 and back to Paris in 2044. Characters named Gabrielle (Léa Seydoux) and Louis (George MacKay) are kept apart from each other by different circumstances each time.

I spoke to Bonello, MacKay and Seydoux for a story that will be publishing soon. The production actually shot only a couple of days in Los Angeles, with a house in the South of France standing in for a home in the Hollywood Hills. Yet even shooting in L.A. for a short while was meaningful for Bonello.

As he told me, “I really loved it because it’s like the history of cinema. When you arrive and wherever you put your camera, of course it reminds you of so much. You’re in the heart of the cinema, in a way.”

Reviewing “The Beast” for The Times, Tim Grierson wrote that it “may ostensibly be about artificial intelligence , but it’s really about the terror of being alive.”

Jean-Pierre Melville’s ‘Le Samour a ï’

I am quite sure we have talked here about Jean-Pierre Melville and his masterful “Le Samouraï” more than once. But to me it is a movie I simply never tire of. It endlessly reveals itself: a philosophical meditation on not just the gangster film but one’s relationship to life and work. A new 4K restoration from the original 35mm negative opens this week at the Laemmle Royal and Laemmle Glendale.

John Woo famously said the film is “the closest thing to a perfect movie that I have ever seen,” and it’s easy to see why. Melville pares down his storytelling to the barest essentials as he follows a Parisian hit man, Jef Costello (played by Alain Delon, his impossibly handsome good looks arguably never put to better use). Jef must avoid being picked up by the police after a perfectly planned job goes awry.

Writing about the film in 1997 , Kenneth Turan said, “Despite [his] attention to detail, Melville was the first to almost brag that ‘I am careful never to be realistic.’ Stylization was his overriding concern, down to the white film editor’s gloves he has all his protagonists, Jef Costello included, put on before committing crimes. Equally artificial is the quote from ‘The Book of Bushido’ that starts the film: ‘There is no greater solitude than the samurai’s unless it be the tiger in the jungle.’ It sounds too perfect to be real, and in fact Melville claimed he made it up. However, what is genuine about ‘Le Samourai,’ the passion that Melville felt for this quintessentially American genre, is strong enough to make this one of the glories of the modern gangster film, elegant, romantic and unforgettable.”

Alice Rohrwacher’s ‘La Chimera’

Though it first opened locally last week, Alice Rohrwacher’s “La Chimera” has expanded to more theaters and is easily among the best new releases of the year so far. We didn’t want to let it be overlooked here.

Set in Italy in the 1980s, the film follows British expat Arthur (Josh O’Connor) who has a knack for uncovering Etruscan artifacts that he can sell on the black market. Living on life’s margins, he is haunted by a past love as he tries to find a way forward.

In his review of the movie for the paper, Carlos Aguilar wrote , “In a way, it allows the viewer to traverse time and space, one luminous image at a time. A staunch humanist, Rohrwacher makes movies that are primed for immortality. If her latest is somehow discovered 2,000 years from now among the ruins of what we once called civilization, it would be an astoundingly flattering portrait of us. … Mournful yet exuberant, “La Chimera” is a towering work of art presented with the unassuming invitation of a warming summer morning.”

In an interview with Esther Zuckerman for The Times , Rohrwacher said, “Maybe my films are not perfect — maybe a machine could do that, but that’s not what I’m after. What I’m after is making films that are alive and that are full of life and that constantly have something new to show you, something new to tell, and indeed you can watch them over and over again and there’s always something, some kind of life that comes to you from the movie.”

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Alison brie confirms community movie script is finished & shares her review.

Alison Brie shares a major update on Dan Harmon's Community movie script, confirming that it is finally finished and shares her review.

• The long-awaited Community movie script is finished, exciting fans of the sitcom for a big adventure ahead with the original cast.
• Despite facing obstacles like scheduling conflicts, the cast is eager to make the Community movie a reality after years of waiting.
• With the script complete, there is optimism that filming could start in 2024, leading to a potential holiday release for the highly anticipated movie.

Alison Brie confirms the Community movie script is finally finished and shares her review. Premiered in 2009, the popular sitcom ran for five seasons on NBC before it was canceled and moved to the now-defunct Yahoo! Screen for its final sixth season. In 2022, Peacock announced they were making a Community movie penned by creator Dan Harmon and writer Andrew Guest with much of the main Community cast returning, including Joel McHale, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, Alison Brie, Donald Glover, Ken Jeong, and Jim Rash.

Now, years after its original announcement, Alison Brie shared a major update on the Community movie during a recent appearance on Bravo's Watch What Happens Live With Andy Cohen .

Alison Brie says she has read Dan Harmon's script for the Community movie and shared her thoughts, saying " it’s so funny ." The actress also expressed her hopes for her character, Annie. Read her full comments below:

We got a script, which is a major update. We got a script — you heard it here first... I’ve read the script, and it’s so funny... I hope that Annie hasn’t changed too much because I loved her just the way she was.

When Will The Community Movie Start Filming?

Six seasons and a movie, which started as an in-universe joke that sparked a passionate fan campaign, finally became a reality in 2022 when Peacock announced that a Community movie was officially in development. However, over the ensuing years, the project has faced many obstacles preventing it from progressing through development and entering production. The movie was originally scheduled to shoot in June 2023 , which had to be delayed due to the dual WGA and SAG-AFTRA strikes that summer.

Community Movie Update Is A Major Relief After Huge Returning Character Concerns

Another major obstacle the Community movie is facing is the limited availability of its cast . This is a major concern, according to Harmon, who has publicly wondered, " What are the odds that everyone’s schedule is going to once again align? " Though Harmon has worried that the Community movie might not happen, finishing the script is major progress, and it appears that Alison Brie and many other cast members are excited about making time in their schedules to start shooting.

Joel McHale hopes the Community movie can start shooting in the summer of 2024 and, with a " quick turnaround ," will be ready for a holiday 2024 release. With Harmon's script finished, this plan is one step closer to becoming a reality. However, " working around Donald [Glover's] schedule " is a major obstacle, according to McHale. The multi-hyphenate has several other commitments, including the Star Wars Lando movie . Though challenges still lie ahead, Alison Brie's update is a sign that the Community movie is one step closer to shooting.

Community seasons 1-6 are streaming on Hulu and Peacock.

Source: bravowwhl /Instagram

The Community movie is the long-awaited sequel to the television series created by Dan Harmon. The film, which was always comedically teased throughout the series with the phrase "Six seasons and a movie," will see the majority of the cast return for a big adventure that will pick up some time after the sixth season.

Abortion in Arizona set to be illegal in nearly all circumstances, state high court rules

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The Arizona Supreme Court on Tuesday upheld a 160-year-old law that bans abortions and punishes doctors who provide them, saying the ban that existed before Arizona became a state can be enforced going forward.

The ruling indicated the ban cannot be retroactively enforced, and the court stayed enforcement for 14 days.

But the shocking ruling quickly caused political earthquakes.

"There really is no way to sugarcoat it, today is a dark day for Arizona," said Angela Florez, president and CEO of Planned Parenthood Arizona.

The pre-statehood law mandates two to five years in prison for anyone aiding an abortion, except if the procedure is necessary to save the life of the mother. A law from the same era requiring at least a year in prison for a woman seeking an abortion was repealed in 2021 .

Arizona politics: Vice President Kamala Harris returning to Arizona for abortion-related campaign event

Enforcement of the ban could mean the end of legal abortions in Arizona, which reproductive rights activists warn means Arizona women can expect potential health complications.

In the wake of the ruling, some providers said they will continue offering abortions up to 15 weeks of pregnancy at least for a time — likely through May — because of an existing court ruling in another case. And, abortion rights advocates see a backstop in the state's top Democrats, who have taken steps to thwart any enforcement of the ban.

Democratic Gov. Katie Hobbs issued an executive order last year giving all power to enforce abortion laws to the state attorney general instead of county prosecutors. Attorney General Kris Mayes, also a Democrat, has vowed not to prosecute any abortion case, and she reaffirmed that position Tuesday.

“No woman or doctor will be prosecuted under this law as long as I am attorney general," Mayes said. "Not by me, nor by any county attorney serving in our state, not on my watch.”  

Mayes and Hobbs' stance relies on an untested legal argument, and could be challenged by one of the state's county attorneys .

'Abortions ... are illegal,' court says

The decision was 4-2, with Justices John R. Lopez IV, Clint Bolick, James P. Beene and Kathryn H. King  in the majority. Lopez wrote the majority opinion, while Vice Chief Justice Ann A. Scott Timmer penned a dissent. Chief Justice Robert M. Brutinel joined Timmer. The court's seventh justice, William G. Montgomery, recused himself from the case.

All of Arizona's justices were appointed by Republican governors.

"Physicians are now on notice that all abortions, except those necessary to save a woman’s life, are illegal ... and that additional criminal and regulatory sanctions may apply to abortions performed after fifteen weeks’ gestation," the ruling reads.

The majority ruled that a law passed by the Arizona Legislature in 2022, which prohibited abortions after 15 weeks, did not repeal the pre-statehood law nor create a right to abortion. The majority relied on language in the bill that enacted that law, which said it did not " repeal, by implication or otherwise " the pre-statehood ban.

The court concluded "the legislature made its intent known," in part through "an unwavering intent since 1864 to proscribe elective abortions." And the court said the overturning of Roe v. Wade, which left no constitutional right to an abortion, made Arizona's ban enforceable.

"The legislature has demonstrated its consistent design to restrict elective abortion to the degree permitted" prior to Roe being overturned, the opinion says.

“Life is a human right, and today’s decision allows the state to respect that right and fully protect life again — just as the Legislature intended,” said Alliance Defending Freedom Senior Counsel Jake Warner, who argued the case before the court in favor of the pre-statehood ban.

Timmer, in her dissent, wrote that the 2022 law prohibiting most abortions after 15 weeks was meant to create an exception to the pre-statehood law and was not contingent on Roe v. Wade.

She objected to the majority using the bill language to interpret the Legislature's intent, saying she would not "engage in the guesswork" they did and that it was "implausible to conclude the legislature planted within the (bill) a bombshell of reverting to a near–total ban on abortion."

"The statute says what it means and means what it says: The state will prosecute physicians for performing abortions after the fetus reaches fifteen weeks in age unless a medical emergency requires the procedure. The state will not prosecute physicians for performing abortions before the fetus reaches fifteen weeks in age. These abortions are lawful. There is no room for misunderstanding."

One effect of the ruling could be more support for a ballot measure in the works for this year to put abortion access into the Arizona Constitution. Advocates say they've already got more than 500,000 signatures , well above the threshold of 383,923 signatures needed by an early July deadline.

“We were expecting the worst and hoping for the best, but we have to keep moving forward," said Chris Love, a spokesperson for the ballot measure known as Arizona for Abortion Access. "We have an opportunity to change things at the ballot in November.”  

The state Supreme Court's ruling puts a stark choice before voters: Choose the new reproductive rights measure or watch abortion policy turn back to the 19th century.

That black-and-white choice, as well as an anticipated increase in turnout by Democrats because of the ballot measure, could also affect races in the state Legislature or other offices.

Hobbs said Tuesday the ruling left Arizona with "one of the most extreme abortion bans in the country,” and she called on the GOP-led Legislature to immediately repeal the 1864 ban.

“The Republicans at the Legislature have time and again refused to act to protect our freedoms,” Hobbs said, as she stood with more than a dozen Democratic lawmakers. Hobbs had pledged to spend six figures to unseat those Republican lawmakers, who are all on the ballot this year.

When does the ruling go into effect?

The highly-anticipated ruling came as a shock to many abortion rights advocates in a state where abortion access has been uncertain ever since the U.S. Supreme Court overturned Roe v. Wade, and abortion rights, in 2022. Because of Arizona's two laws, clinics provided abortions off and on for a time, subject to the decisions of courts along the way.

A new element of uncertainty emerged Tuesday even after the ruling from the state's top court, as various involved groups offered differing timelines for when enforcement could begin.

Warner said he believed county attorneys could pursue cases when the court's stay expires in 14 days.

But Planned Parenthood Arizona and the American Civil Liberties Union of Arizona said the law cannot be enforced for 45 days after the court issues a final mandate, which has not yet happened. That view was also shared by some abortion opponents, including GOP legislative leaders and the Center for Arizona Policy, who said they believe enforcement cannot occur until later.

That's because of a separate court decision from Maricopa County, in which the state's former attorney general, Republican Mark Brnovich, agreed not to enforce the 1864 law until 45 days after the current case had been resolved . That agreement came in October 2022.

Cathi Herrod, president of the conservative Center for Arizona Policy, praised the court's decision.

"The Arizona Supreme Court reached the appropriate legal conclusion," she said in a statement. "Today’s outcome acknowledges the sanctity of all human life and spares women the physical and emotional harms of abortion. ... Today’s decision preserves a system designed to be blind to all but the law, and in doing so, it upholds the right of life for all Arizonans."

Planned Parenthood Arizona: Abortions up to 15 weeks will remain legal for a limited time, Arizona providers say

US Supreme Court ruling paved way for return of 1864 law

The abortion ban first codified in Arizona law in 1864 has been sitting on the books for 160 years.

First appearing in the 1864 Howell Code, a book of laws compiled by Arizona's First Territorial Legislature, the state's abortion ban was similar to those in many states. It was enforced vigorously in Arizona until the Roe v. Wade decision in 1973.

In 1971, Planned Parenthood of Tucson sued the state to overturn the old ban. The group lost the case in 1973 when the state Court of Appeals ruled against it. But the U.S. Supreme Court issued its historic Roe v. Wade decision the same year, causing the state Court of Appeals to issue an injunction against the pre-statehood ban.

For almost 50 years, legal abortions were considered a fact of American life, until the Dobbs v. Jackson Women's Health Organization ruling in June 2022 that removed the Roe protections.

The ruling by the new, more conservative U.S. Supreme Court, spurred Arizona Republican politicians to ask the courts to lift the injunction from 1973 and allow police and prosecut o rs to enforce the 1864 law. The new court action had the effect of renewing Planned Parenthood's 1971 legal fight.

The Arizona Supreme Court recognized all that was unsettled in implementing its 14-day stay before the 1864 law can be enforced. That window allows any legal challenges that were started in 1971, but essentially put on hold because of Roe v. Wade, to be pursued again now, over 50 years later.

Mayes said her office was weighing its response. The state's top court sent the case back to the original superior court to consider the possibility of further action.

“My office is, as we speak, discussing what our next steps are, whether that is appealing this decision to the United States Supreme Court, whether that is taking ... the constitutional questions that remain, back down to the Superior Court," Mayes said.

Reporters Mary Jo Pitzl, Reagan Priest and Stephanie Innes contributed to this article.

Reach reporter Stacey Barchenger at   [email protected]  or 480-416-5669 . Reach the reporter at  [email protected]  or 480-276-3237. Follow him on X @raystern .