FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

justkrepper The come back is a great movie which tells a sweet and modern love story.Hugh Grant is hilarious (especially when he starts swinging his hips) Obviously we would all love to see Hugh Grant performing on stage a love song destined to us, what an amazing moment it would be! Drew Barrymore is so lucky.It feels good to reconnect with the 80's, plus the musics are surprisingly very good (I can't stop singing "I said I wasn't gonna lose my head, but then pop! Goes my heaaaarrttt...)I spent a very good moment watching this movie which gives us an idea of how hard can the music industry be.Morality of the story: you never know where and how love can strike!

Julesecosse For me it got off to a rocky start but settled down into a gentle romantic comedy.There are no surprises here, it is fairly predictable fare. But is has it's charms. The leads work well together; indeed they are the heavyweights of their chosen genre: light and fluffy stuff; I don't think either Drew Barrymore or Hugh Grant have ventured beyond light entertainment; but perhaps that is a good thing; it's where they belong; neither seem to have other aspirations.I thought that the casting was near perfect; the peripheral characters were very believable. I particularly liked the agent(the older brother in Everybody Loves Raymond) and the young singer Cora, who represents everything you can imagine in a young modern pop star. I also liked Justin Timberlake's near cameo (he certainly gets around), he doesn't mind taking the mickey out of himself, though I felt he could have pushed it a little more for comic effect.Definitely one for a relaxing time, when you don't want to use your brain-power.

maureen-burford This is my definition of the perfect pop movie. Drew and Hugh make us believe in these quirky characters, the music is spot on, the humor perfectly timed. It's under-rated because it doesn't try to be something it's not, so refreshing, but succeeds brilliantly at what it is--a seemingly effortless, finding themselves romantic comedy.If there were ever a documentary film devoted to best comic moments by supporting players this film has several that qualify for the hall of fame, including scenes with the apartment desk clerk played by Aasif Mandvi or with Drew's sister in the film played by Kristen Johnston.It's six years later and I still feel peeved when the talking heads who originally reviewed this film have the last word. It's a lovely dessert.

tieman64 "Music and Lyrics" finds the usually intolerable Hugh Grant playing a washed up pop singer who meets a young songwriter, played with customary cuteness by actress Drew Barrymore. As per formula, he's cynical about music and the music industry, but her optimism, love and energy rekindles his zest for art and life. They fall in love, break apart, and then get married, the film climaxing with Grant writing a song for Drew and then revealing it to her on stage in front of a crowd of thousands.It's your standard boy meets girl, boy loses girls, boy gets girl back formula. What's different here is that the film has been deliberately reverse engineered, the film-makers starting with a very specific set of problems: how to get a guy and girl romantically writing songs and singing for one another, and how to climax the film with the guy expressing his love to the girl via song in front of a large public audience. As cinema and music, or rather pop-cinema and pop-music, largely define man's understanding of love and romance, the intention here is to tap into a kind of ultra romance, director Marc Lawrence trying to create a more mainstream version of what John Carney did a year earlier with his indie film "Once" (also another Barrymore project, "The Wedding Singer").The film is at its best when its satirising 1980s glamour and pop music. It also pokes fun at the contemporary music scene (many young, oversexed, dumb pop stars gyrating for their rumbustious fans), but such jabs are less funny. As with most of these films, the climax must be a public event, we the audience watching as an audience watches our heroes. This both enfolds us in the drama and taps into a kind of primal need for public validation.Usually with these films the female role is given to a foreigner, someone verbally impaired. It's the male character who masters language and is in a position of linguistic dominance. Here Barrymore is the master of words and Grant's the stammering goof-ball.Note that both actors are all surfaces. They're constantly blasting us with ultra cute, ultra romantic, ultra bashful, ultra suggestive, don't-you-want-to-just-kiss-me-now poses. Every gesture, pose and inflection is relentlessly calculated. Barrymore's an old hand at this now. Grant too. Love is itself a game of broadcasted and exchanged signs.7.9/10 – Romantic comedies, keeping the human species breeding since 1909. Worth one viewing.