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I saw this more as an experiment, a chance to pay homage to a time and place in movie-making. I was also reminded of "Breakfast at Tiffanys" a tad in its glamorization of that Jackie Kennedy/Audrey Hepburn period of high ladies fashion. It was sort of a 50's lag, a last vestige of the classy old styles before the hip/hippie modern era would sweep them away forever. Call it the end of elegance, if you will.

On the other hand, it was the end of an era for the more innocent screwball comedies/romances as well. Movies changed just as abruptly, and got just as down to earth in its realism as the fashions. So, we are seeing here a double homage, to the fashions, and the more lighthearted tenor of movies, in the 50's/early 60's.

The movie did well in the plot/story/jokes department. It was a tightrope, because if they got TOO risqué or hip, it would take away from the tenor and point of the whole retro/throwback thing. In that case, it inevitably would come across in some ways as a retread and stock, but that was the price paid for doing this. There simply was not much room to work with in any sense per plot development, and tongue-in-cheek can only go so far without betraying homage to the old school of doing things. With the aforementioned built-in restrictions, I think that Payton Reed did a pretty darn good job here! Well worth seeing, and a must-see for those who love retro fashions and movies.

Well, 'Down With Love' turned out to be a unexpectedly pleasant surprise. Love many of the late 50s and 60s sex romantic comedies, 'Pillow Talk' being a primary example, and can't get enough of those with Doris Day and Rock Hudson which this film clearly was paying homage to. There was the worry though as to whether 'Down With Love' would be just another heavily predictable film with forced comedy moments, no romantic chemistry and no charm with talented casts wasted.

Luckily, 'Down With Love' on the most part was not one of those films. It is a satire and celebration of the sex romantic comedies from the late 50s and in particular the 60s, being set in 1962, and mostly does a really good job, capturing the fun, kitsch, charm, froth and affectionate nostalgia of the period and the films with incredibly impressive results. Is it as good as the films it's satirising and celebrating? No. Are the two leads and their chemistry on the same level as Day and Hudson or even Day and James Garner? Not in a million years, but this is a tall order with not many actors and actresses today having the same amount of appeal and that special one of a kind chemistry that those stars had.

'Down With Love' is not perfect. It is easy to dismiss the story as being slight and predictable, and it is. One does have to bear in mind though that the story was not exactly the strong suit in the sex romantic comedies of the late 50s and 60s, it was the production values, the stars, the supporting cast, the writing (on the most part) and the chemistry between the stars that elevated those films to a greater level.

Mostly the script is fine, but it is not without its clunkers. Especially that homosexual accusation, that was cringe-worthy, completely out of place and if it was made in either of the decades that are being satirised and celebrated it would have been anachronistic and would have been anachronistic in its 1962 setting. A few of the more twisty moments were too obvious and didn't serve much point and it occasionally affected the pacing. It was nice to see Tony Randall again, but he really deserved much better than a pointless cameo that gave him nothing to do, he might as well have not been in the film at all.

However, 'Down With Love' looks great and replicates the look of the late 50s and 60s perfectly, the glorious Technicolor, the super stylish photography, the colourful sets, the kitschy décor, sumptuous costuming, the CinemaScope logo. The split screen was clever in one scene. There are artificial painted backdrops and cheap back projection, but this was perfect and appropriate considering what the film is doing. The soundtrack is infectious and affectionate and the direction is controlled and super slick.

Apart from the odd clunker, the script is clever and witty while also being endearingly frothy. The characters lack depth but are not too shallow or annoying thanks to the charm of the cast. The story isn't perfect, but is mainly fun, charming and captures the spirit of the period and films it's satirising and celebrating perfectly and with clear affection.

Renee Zellwegger gives a sprightly and likable lead performance and is well matched by a charming, understated and carefree Ewan McGregor in the other lead role. Their chemistry is nicely done, to me it was there but subtle. It may not have been Day and Hudson but that is incredibly daunting for anybody since to replicate. David Hyde Pierce steals the film, looking like he is having the most fun, he certainly has the most energy. Sarah Poulson is amusingly wise-cracking and charming, if occasionally a little too tongue-in-cheek.

Overall, an unexpected pleasant surprise if not perfect. 7/10 Bethany Cox

In my mind a good parody is always also an homage to its source material. Instead of just pointing, mocking and laughing, it respects its predecessors and while it gently pokes fun at their mistakes and general silliness, it also pays tribute to their strong points. And that's this film. It's both a parody and a love letter to those romantic comedies of the mid-century Hollywood where men and women had clearly defined roles, every background was painted, the cars were driven by madly spinning the wheel from one side to the other even though the road was perfectly straight and every single line was delivered with a suave and cocky grin on one's face.

And as far as parodies or even movies in general go, this isn't a bad example. It has a very strong visual style, with bright, colourful sets, which feel very nostalgic, great score, clever if a bit dirty sense of humour, especially when it comes to visual humour, and a good cast of actors. Renée Zellweger and Ewan McGregor especially were very good in their roles and they had good chemistry together. McGregor in particular was prefect for the role of Catcher Block, a suave ladies man, who simply oozes self-confidence and charisma.

I had no complaints about the story either, though it wasn't the film's strongest point. It's clever and witty most of the time and the scenes flow smoothly from one to another, but it had perhaps one twist too many for me to fully enjoy it. I wouldn't call it needlessly complicated, but it's not far.

In the end I have to admit that I had a blast watching this film. It's more about the experience and the individual scenes than it is about the story, but in this case it's not a bad thing. If you're looking for a movie with great sense of humour, enjoyable characters, witty dialogues and bright colour scheme, this is definitely your film.

DOWN WITH LOVE, director Peyton Reed's homage/spoof of the Doris Day/Rock Hudson sex comedies of the early 60s, is a delightful bit of fluff in a movie season filled with inferior sequels and overwrought epics. Dazzling to watch, with Givenchy-inspired costumes (if Daniel Orlandi does not receive an Oscar for his work, his peers should turn in their Designer cards), wonderfully over-the-top sets (EVERYBODY in those 60s films lived in apartments you could land airplanes in), and a 'More 1963 New York than 1963 New York' look (created on the studio back lot, with ample support from CGI), the film would deserve a viewing even if the cast never uttered a line of dialog!

Fortunately, the script, by Eve Ahlert and Dennis Drake, is wickedly funny, full of the politically incorrect double entendres that were as close as Hollywood could get to actual 'naughtiness', 30 years ago (and, yes, there are more than a few present that WOULD have been censored, even then). The story, of a woman who writes a best-selling 'self-help' book eschewing the necessity of men for any more than 'casual sex', and the 'Hugh Hefner'-like writer who turns his prodigious charms to work, in the guise of a naive astronaut, to win her love, and thus discredit her theories, would have fit Doris Day and Rock Hudson to a 'T'. While Renée Zellweger and Ewan McGregor lack their role models' charisma, they have a pleasant chemistry together, and the 'split-screen' phone call scenes between the pair are even racier than the Day/Hudson 60s versions.

If the leads seem a bit bland, the supporting cast more than makes up for any shortcomings. In a role that SHOULD garner a 'Supporting Actor' Oscar nomination, David Hyde Pierce takes on the part assumed by Tony Randall or Gig Young in those 60s farces, that of the put-upon, neurotic, sometimes prissy friend of the hero. He is superb, even SOUNDING like Tony Randall, and steals every scene he's in. His 'opposite number', friend of the heroine Sarah Paulson, while not quite at Pierce's level, is still quite funny as a chain-smoking career woman who would chuck it all for the right man. And, in a FABULOUS piece of casting, the MAN himself, Tony Randall, appears as the book publisher whose bestseller is RUINING his love life. At 83, the man can still toss off a funny line...

With a very inventive 'twist-within-a-twist' climax, and Marc Shaiman's evocative score punctuating the proceedings, DOWN WITH LOVE is a delight!

This is an homage to the light romantic comedies of the early 60's and a strong influence by "Pillow Talk". Renee Zellweger is Barbara Novack and she writes a book about women and how they look at relationships and an editor at a publishing firm named Vicki Hiller (Sarah Paulson) convinces the board of directors to publish her book. One way to get attention to her book is for a well known writer to write an expose of it so they try to get Catcher Block (Ewan McGregor) to do the job but he's so busy womanizing that he keeps canceling their appointments so they try other methods to get attention to her book and they succeed as it becomes a best seller. Catcher is amazed by her success and bets his friend and coworker Peter MacMannus (David Hyde Pierce) that he can make her fall in love with him which would make her a hypocrite and he would have a big story to publish. Catcher pretends to be a shy astronaut from Florida and they start to date. This film is directed by Peyton Reed who has worked almost exclusively in television and is directing the "Fantastic Four" next. Film does an admirable job of recreating those type of films that were prevalent in those times. The sets are terrific with the decor for the offices and apartments. Even the scenes like when Zellweger is riding in a car its obvious that its a sound stage with a movie screen behind them showing stock footage of 1960's traffic. The script also does a good job of adding some flavor of 1960's culture like when one of the board of directors describes her as "The Farmers Daughter" from Maine. This is of course in reference to Debbie Reynolds and when MacGregor says he's an astronaut from Cocoa Beach Florida its from "I Dream Of Jeannie". All pop icons from the sixties. And having Tony Randall in the film gives it the ultimate cavalier compliment. Its not a perfect homage like the scene where Paulson accuses Pierce of being homosexual which would not have been allowed during those times but the lighthearted charm of the film remains intact. Zellweger is fine as usual as Barbara but its MacGregor that caught my eye. His performances in the last two years have never ceased to be interesting. He was almost unrecognizable in "Black Hawk Down" and then shows he can sing in "Moulin Rouge!" But also shows he can handle playing American dialects. He's an amazing actor to watch and here he adds to his mystique. Film is utterly charming and it does compliment the films from the early sixties.