L'amour sans préavis

"Two Weeks Notice" tells of the romantic misadventures of a playboy tycoon (Grant) and a "greenie" attorney (Bullock) who can't seem to get along until they finally realize what they can't get along without is each other. On the downside, the film is the usual romcom fare with nothing in particular to distinguish it from a panoply of peers. On the up side, the flick is chock full of Lawrence's humor which made "Miss Congeniality" and "Forces of Nature" so enjoyable. Entertaining stuff worth a look for Bullock or Grant fans and romcom junkies. (B-)

Sandra Bullock and Hugh Grant hearken back to classic screwball comedies in a very engaging if somewhat shallow romantic film that accentuates laughter above sentiment and succeeds wonderfully - even when it's not especially witty or gut-busting.

Bullock plays Lucy Kelson, a committed left-wing attorney with an immaculate Ivy League background who fights the good fight against the heartless developers of lower Manhattan and the outer boroughs. Complications ensue when she finds herself working for one such figure, George Wade (Grant) in exchange for his preserving a Coney Island landmark near her childhood home. Wade's not a bad guy, but he's frightfully dependent on Lucy for everything. When it seems possible she might at last get clear of him, she begins to have second thoughts about letting him go.

Two things I really, really like about this movie. One is the chemistry of Grant and Bullock. Bullock takes to being the butt of assorted slapstick with a gusto rare for a gorgeous screen star. She seems to have inherited the Doris Day mantle from Julia Roberts and Meg Ryan, though in a better way than either of those two screen stars. It's a pity she's since shown no interest in maintaining it. Grant plays off her very well in a role he could perform in his sleep - and sometimes seems to do just that, albeit in a good way. He has a casual way with a line that reminds me of Roger Moore or David Niven at their best, and shows he is growing comfortably into a solid on-screen presence after years of coasting on looks and charm. If IMDb.com is correct, he got paid $12.5 million for this, which if true is way too high, but he is probably the one guy who could make Wade so enjoyable, to the point where you're happy at his shenanigans for keeping Lucy by his side.

The other thing is the NYC backdrop. There's some eye-popping visuals courtesy of legendary cinematographer Laszlo Kovacs, like the bridges lit up like Christmas trees in the background while Bullock has a drunk moment with Grant aboard his yacht. Another scene features a helicopter shot of Manhattan by the Hudson, with a nice nod at 9/11 that doesn't impose itself on the viewer but is there for the noticing. (This was the first film shot in the city after the tragedy.) You can compare "Two Weeks Notice" with classic romantic comedies like "What's Up Doc?" or "Bringing Up Baby." Not that it's as good, but the goal is similar in that it strives to entertain more than play with one's heartstrings.

Alright, the story is shallow. We never really get a sense of Kelson's duties with Wade except when it comes to being pulled out of weddings to pick out ties. Her absentee boyfriend is barely established. The supporting cast is not well developed, except Robert Klein and Dana Ivey as Lucy's parents. (Klein especially is wonderful.) Alicia Witt is spellbindingly gorgeous as Kelton's would-be replacement, and she plays wonderfully off the main pair, but she's suddenly thrust into the role of the heavy simply for plot convenience, and it's jarring. Too many other secondary roles are like that, too.

The script, by director Marc Lawrence, has its share of lame one-liners, but it keeps a steady, merry tempo that distracts from the film's shortcomings at least somewhat while focusing on its key strengths, Bullock and Grant. Lawrence's direction is similarly solid. I like the little bits of business between Bullock and Grant, like when they pick off each others' plates at Fraunces Tavern, or when she refuses his offer of a sidewalk kebob, calling it a "flesh popsicle." The scene that sticks out most is of her at an outdoor party, wearing a lovely tulle gown and a clown nose. This is one film that makes a serious point of being goofy and glamorous all at once, and it works. If all romantic comedies were so committed to being entertaining, it would be a lot easier for us guys to sit through them.

A by-the-numbers romcom is made better than average by Hugh Grant's impeccable timing and delivery. When Sandra Bullock is snoring her head off, he puts a pillow under her head to stop her. Instead, the snoring gets louder."Opposite effect. Interesting," says Grant. The line is only funny because Hugh Grant says it. He has perfected the little-boy-lost routine to a tee. Bullock does fine, and the character actors support the main players well, particularly the overweight not-pregnant-but-then-is colleague of Bullock's, who gets the best squirming out of Grant. But the whole film lives or dies on the casting of Grant, it is impossible to think of these lines working said by any other actor. This film will bring a smile to your face and is worth renting as a Friday night date movie.

Two weeks notice is a movie that is so completely lightweight in viewing, it's almost embarrassing to admit how much I liked it. But I did. I'm a big fan of romantic comedies but it seems like there is so much of a redundent churning out of crummy or average ones in the past few years, it's hard to keep them all straight.

This movie differentiates itself very much from other below average or at best, average or slightly above average romantic comedies. It's the same classic setup as a million other ones(see: "Maid in manhatten", "The wedding planner", runaway bride", "I love trouble" etc etc etc.) What makes this one a bit better then the above mentioned is the dialogue. It's actually funny! This is a movie that exists entirely on the witty "back and forth" barbs between Bullock and Grant's characters. It's peppered with zingy one liners and caustic banter and the result is a peppy, funny and entirely entertaining romantic comedy.

AS is NOT the case with some of those other movies I mentioned, this is one I will actually remember fully once the movie is over. Although nothing about the plot is realistic in the slightest, the banter is so much fun and the chemistry so cute and sassy, that it makes for very entertaining movie watching.

Anyone who's ever had that type of relationship will be able to relate. That fun type of relationship with a member of the opposite sex where chemistry and attraction is built slowly and sassily, where both people know their attracted to each other but haven't yet admitted that to each other so off they go into the world of sexual banter! This is a fun relatable romantic comedy that any fan of the two main stars should see. I happily give it an 8 out of 10.

Lucy Kelson {Sandra Bullock} lands a job as chief counsel for a big hitting New York real estate firm that is owned by mega-rich George Wade {Hugh Grant}. He's an engaging enough boss but he's very shallow, and Lucy finds that she's practically running his life for him. So finally tiring of being treated like a Personal Assistant, she gives her two weeks notice of resignation. But can the pair do with out each other? And is there more than a working relationship bubbling under the surface? For his first feature film directing assignment, Marc Lawrence played it safe and got lucky with his lead actors. Whilst hardly setting a new benchmark in the ROM-COM genre, Two Weeks Notice is however witty and not without charm. This is due in the main to the pairing of Grant & Bullock, who play it perky and spark a chemistry so sadly lacking in many other modern day films of its ilk. By their own admission the pair got on great off screen, and that is evident as the pair feed of each other to make the lightweight script work wonders. The dominance of the pair tho leaves little room for the supporting actors to breathe, with many of them coming across as mere fillers. It's this that stops the film from being the great film that Bullock, and particularly Grant's, efforts deserved.

Enjoyable light entertainment that could have been better if more thought had gone into the outer characters. 6.5/10