Eek-cute: the rebirth of the frothy romcom sociopath

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The online era is pushing screen romantics to alarming extremes. Whether posing as a stranger’s fiancee or framing someone as an obsessive stalker, happy endings look harder than ever to find It’s a long-running romcom trope that the couples we’re supposed to root for are often hiding lies that threaten the chances of any happy relationship blossoming. From classics such as The Shop Around the Corner to modern blockbusters such as How to Lose a Guy in 10 Days, the genre thrives whenever it presents the audience with the most alarming red flags it conceals from its characters, raising the stakes by seeing if sparks can still fly when an ulterior motive behind each meet-cute is hidden in plain sight. In the romantic comedies we’ve seen so far this year, this trope has not only been revived but pushed far beyond its breaking point, cementing a new romcom archetype: the unlucky-in-love sociopath. This week’s new release Finding Emily is the starkest example to date, introducing psychology...
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Arthur’s Whisky review – Diane Keaton and Lulu in enjoyable body-change comedy

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A magic potion de-ages three women in an enjoyably middling drama-comedy with Patricia Hodge alongside Keaton and Lulu

Viciously anodyne but not entirely unamusing, this older-folk-skewed comedy puts a gentle spin on a well-worn device, the magical-body transformation. In some genteel corner of England, retirees Joan and Arthur are leading a life of quiet resignation. She does gardening and whatnot; he potters with inventions in his shed. One night, his latest concoction, a formula mixed with whisky that will de-age a person back to the body she or he had in her or his early 20s, actually works. Arthur goes outside to holler triumphantly during a storm and gets struck by lightning, leaving Joan a widow.

After the funeral, Joan (Patricia Hodge) and her two best friends, crafty divorcee Linda (Diane Keaton) and baking-obsessive Susan (Lulu), get stuck into the whisky/youthifying brew and wake up looking like the lithe young women they once were, played by three new actors: Esme Lonsdale as young Joan, Genevieve Gaunt as young Linda and Hannah Howland as young Susan. After a predictable bout of screaming and working out that the effect doesn’t last more than six hours, they soon start to enjoy feeling stronger and healthier. (There’s a funny gag that has Linda just repeatedly getting out of a chair and sitting down again, burbling with delight in finding it doesn’t hurt.)

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