Regardless of their ultimate artistic merit (and, let’s be honest, there’s a lot of insipid bullshit to be found in the genre), romcoms stand as pretty much the last remaining vestige of what used to be termed “the woman’s film”, a horribly reductive term for movies which give the experiences, goals and desires of women equal footing to those of men whilst celebrating the differences in their emotional expression and experiences of attachment, motherhood and sacrifice. Sony and Fox aren’t out there making a new Sleepless In Seattle or Picture Perfect, and it’s not immediately apparent why, seeing as they can be made for what’s effectively pocket change, are seemingly critic-proof and every once in a while become a smash hit with a colossal return on investment.ĭig under the surface, though, and it becomes clear the romcom is another victim of the studios’ general withdrawal from mid-level movies as they instead chase blockbuster franchises or prestige pictures, ceding that traditional middle ground to the indie scene. In one sense, they’re not wrong: the “golden era” romantic comedy, undemanding fare in which a man and a woman who are perfect for one another work their way through whatever personal problems or situational roadblocks the story throws in their way to find true love, has been all but abandoned by mainstream Hollywood. The romcom’s dead, judging by the number of thinkpieces calling time of death. Colossal is out now! Get your tickets here!
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