She’s almost Audrey Hepburn.
I said, almost.
While no one touches Hepburn, Sandra Bullock has come pretty dang close over the past 30 years.
In good films and bad — this is definitely the former — she brings such a likability to every role.
Here she works for the transit authority, pining away for Peter Gallagher and his luscious eyebrows.
Mistaken for his fiancée after he falls into a coma, she hangs around, only to spark a love triangle with his brother.
Fizzy, effortlessly romantic, and capable of creating a warm glow in your chest — things which describe both the film and Bullock.
Trapped in a time loop of laughter.
And despair. There’s a certain amount of despair, as well, if we’re being truthful.
Of all the films to riff on Groundhog Day, this is the most-inspired, spiraling off into far-darker, far-kinkier, and far more emotional places than other would-be contenders for the throne.
The always-fun Andy Samberg, goofy grin in place, is a man stuck in an existential crisis, forced to endlessly live out one wedding day.
There’s a wild man trying to kill him, sure, but he can drink to abandon with no hangovers, ever.
So, win some, lose some.
“I can’t believe that you’d wear our father’s suit to our mother’s wedding.”
Two brothers — one a cop, one a supposedly reformed degenerate gambler — immediately irritate each other when reunited in this rock-solid neo-noir.
Trust is not something they share, and probably for good reason.
The gambler is our main man, and the moment he becomes an armored car driver working for his new father-in-law, you can probably guess things won’t end well.
A loose remake of the Burt Lancaster flick Criss Cross, it benefits from a strong director in Steven Soderbergh, and a twisty plot.
Worth a second look.