Love, Actually exemplifies a remarkable shift from a society that understood female empowerment as a systemic concern to one that interprets all feminism through the ideological lens of market-based morality.
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.
Fortunate for us, the film canon provides depictions of working through bad news that can leave us uplifted, renewed and refreshed, if only for a couple of hours. It's great if that feeling and knowledge can stay or grow with you.
I heard a lot of critics sniff at the inclusion of Richard Curtis' About Time in this year's New York Film Festival. The same cadre, no doubt, uses Curtis' Love, Actually as an example of what's wrong with romantic comedy.