Common threads of a romantic movie a man will watch: The screenplay is written by men, the film is told from the man's perspective and the male lead behaves like a man would in real life and the ending of the film is redemptive.
It's the rare teenager who can see beyond tomorrow. While they may worry about the future, they tend to live in the moment because, among other things, they feel immortal and most have little evidence to the contrary.
Both are about intense relationships between young adults that end -- and yet go on. Both are stories of love that has grown one-sided. And both ache with the unavoidable self-pity that goes along with that kind of situation -- while finding the laughs in that same circumstance.
Between her cloyingly unfunny sitcom, New Girl, and her ubiquitous iPhone 4 commercials, she's way overfulfilled my daily -- nay, annual or even lifetime -- recommended dosage of Zooey Deschanel quirk.
The emotions surrounding the MPDG run deeper than mere resentment. They are Amazing Manic Pixies only while they are loved. Before that, they are merely everyday women, and afterwards, they are harpies.
The roots of Sundance were acres of granola-flavored films about people in small towns or women in crisis or something that was equally high-minded but was consistently bemoaned as not being particularly commercial.
You wake up, and start plugging in numbers into a spreadsheet, ending up with a budget for a $15 million movie. Then you realize you don't know enough rich dentists to finance that, so you cut the budget...
Just when I despaired about the overweening cleverness of screenwriters confusing a chopped up timeline with intelligence and craft, two films popped up to prove there's still life in this unconventional convention.