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Todd Strauss-Schulson’s whipsmart “Isn’t It Romantic” bites into the romantic comedy genre early, with the familiar strains of Roy Orbison’s “Oh, Pretty Woman” — a classic on its own, but now one indelibly linked to Garry Marshall’s 1990 beloved “Pretty Woman.” While young Natalie (Alex Kis) is close enough to her TV screen to practically sit inside that Julia Roberts vehicle, her brassy mother (Jennifer Saunders) is in the kitchen, whipping up the saddest cocktail imaginable (a boxed wine ice cream float) and imploring her daughter to stop dreaming about love. “Life’s not a fairy tale,” Natalie’s mother sniffs sadly. Not for gals like them, anyway.
Twenty-five years later, grown-up Natalie (Rebel Wilson) has taken her mother’s lessons to heart. Romance? It’s not for her. Natalie’s entire life is drab and boring — hats off to the film’s set and production designers for crafting Natalie’s crappy studio apartment, her oppressive office, and a real-world New York City that are so realistic you can practically smell the character’s disappointment and disaffection — and her early love of rom-coms is a very distant memory. This will makes things all the more complicated when Natalie is literally dropped inside of one.
Natalie - World - Prettiest - ER - Williams
One terribly funny subway mugging later, Natalie wakes up in the world’s prettiest E.R. (“This is a Williams Sonoma!”), and the entire world is a better place (or at least a cleaner one, filled with flowers and with a soundtrack comprised of mostly Michelle Branch jams). Natalie is suddenly the heroine of her own sunny story, laden with all the trappings of the genre she despises. There’s the fancy apartment and the great job and the hunky love interest, but there’s also a “gay best friend” character (Brandon Scott Jones) who, as Natalie puts it, sets the LGBTQ community back a century through his...
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