[Elliott] tends toward camp, yet respects Coward's light sentiment (and pays homage to Ealing Studios' genteel tradition).

Enjoyable and charming at points. A solid drama about an American woman who falls in love with a member of a bankrupt British noble family.

popcorn, Jessica Biel, (Colin Firth, Kristin Scott Thomas)

The story is abundant with basic, effective dramatic conflict, and the source material guarantees that the screenplay will be filled with admirable wit. The finished product is sadly in a perpetual state of overexertion. Firth and Scott Thomas do solid enough work in their roles, even if they sometimes seem to be playing only the broadest strokes. In the lead, however, Biel is a textbook case of miscasting. She's overmatched by the material, and occasionally even seems bamboozled by it.

Inoffensive and inconsequential jazz-age period drama with moments of extreme silliness. Most of the characters are stereotypes of the quintessential English snob, and while Firth's character has a little more depth, he is severely underused. The soundtrack is really bad - a 1920s Charleston version of "Sex Bomb" is not something I ever want to hear again. Ever.

"Stephan Elliott is determined to contemporize a playwright whose rhythms, concerns, and craft are all permanently bonded to the '20s art of British sophisticated escapism, art being short for "artifice."" - Bill Weber

Jessica Biel's limited acting skills almost ruins the whole thing. Fortunately, the script is sharp and witty enough to make up for it. And we do get good performances from Firth and Thomas. It gets off to a rocky start but this actually gets better as it goes along.

An overwhelmingly solid film with an above average cast and a below average everything else, especially the musical interludes - that version of sex bomb made me want to rip my ears off.

Enjoyable 30s period shenanigans with great costumes and setting, a good cast, fun soundtrack, so-so story and poor jokes. The highlight is Jessica Biel's performance as the unwelcome bombshell with a complex past, while the British characters have less chance to shine in fairly stereotypical roles. The film does have a few spectacular set pieces, even if the main storyline loses steam and peters out. Doesn't have the depth but makes up for it in style and flair.

95% set up, 5% story, mostly in the ending but that bit of story was great.

A flat soufflé from a Noel Coward seriocomedy, previously filmed in the silent era by, of all people, Alfred Hitchcock. The jouncing Jazz Age music keeps trying to convince us it's a romp, with no success.

promissing, well played, but not a bit attaching

This is not a typical modern comedy with explicit sex jokes or gross-out humour. I prefer the British style of comedy, plus I love period pictures, so this really appealed to me. Plus, it's nice to see Jessica Biel actually attempt a part that isn't just another throwaway horror film or awful action flick.

Jessica Biel plays the young *roaring 20's* liberated American bride; she has her hands full trying not to offend her new Mother-In-Law & the rest of the clan. Colin Firth is the still sexy, rebellious father-in-law (black sheep?) in this family of spoiled English snobs. Chief snob and mother-in-law, chewing the scenery entertainingly, is Kristin Scott-Thomas. But Ben Barnes, the groom, is TOO much of a milquetoast even for the part he's playing, oddly colourless & unmemorable. But I'm quibblin

Cliche and rife with poor acting, this movie lacks a believeable background story. Collin Firth was the only actor worth watching.

Fun to watch

to repeat a movie is better than to watch this one, there's not even one virtue in it.