When she receives word that her longtime platonic pal Michael O'Neal is getting married to debutante Kimberly Wallace, food critic Julianne Potter realizes her true feelings for Michael -- and sets out to sabotage the wedding.
Critics were split between charmed and underwhelmed: Roberts' performance and Rupert Everett's scene-stealing role as her gay confidant earned the most consistent enthusiasm, while the film's subversion of romantic-comedy conventions divided those who found it refreshingly clever from those who thought it never rose above fluffy formula. Audiences responded more warmly than critics.
“The best scene occurs when Julianne's gay editor and confidant George (Everett) turns up in Chicago and poses as her fiancé, seizing control of the film for five delicious minutes. His devilish impersonation of a straight guy is priceless, and things only get better when he leads a sing-along at the rehearsal dinner. At times like this, when the film spins into pop culture overdrive it stops being a star vehicle and flirts with genuine comic brilliance.”
Andrew Johnston·Time Out New York
“One of the pleasures of Ronald Bass' screenplay is the way it subverts the usual comic formulas that would fuel a plot like this.”
Roger Ebert·Chicago Sun-Times
“riper, more dexterous with a comic line, slyer with modulation”
Peter Travers·Rolling Stone
Comedy, Romance
When she receives word that her longtime platonic pal Michael O'Neal is getting married to debutante Kimberly Wallace, food critic Julianne Potter realizes her true feelings for Michael -- and sets out to sabotage the wedding.
Critics were split between charmed and underwhelmed: Roberts' performance and Rupert Everett's scene-stealing role as her gay confidant earned the most consistent enthusiasm, while the film's subversion of romantic-comedy conventions divided those who found it refreshingly clever from those who thought it never rose above fluffy formula. Audiences responded more warmly than critics.
“The best scene occurs when Julianne's gay editor and confidant George (Everett) turns up in Chicago and poses as her fiancé, seizing control of the film for five delicious minutes. His devilish impersonation of a straight guy is priceless, and things only get better when he leads a sing-along at the rehearsal dinner. At times like this, when the film spins into pop culture overdrive it stops being a star vehicle and flirts with genuine comic brilliance.”
Andrew Johnston·Time Out New York
“One of the pleasures of Ronald Bass' screenplay is the way it subverts the usual comic formulas that would fuel a plot like this.”
Roger Ebert·Chicago Sun-Times
“riper, more dexterous with a comic line, slyer with modulation”
Peter Travers·Rolling Stone
Comedy, Romance