Must Love Dogs

    Must Love Dogs
    2005

    Synopsis

    Sarah Nolan is a newly divorced woman cautiously rediscovering romance with the enthusiastic but often misguided help of her well-meaning family. As she braves a series of hilarious disastrous mismatches and first dates, Sarah begins to trust her own instincts again and learns that, no matter what, it's never a good idea to give up on love.

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    Cast

    • Diane LaneSarah Nolan
    • John CusackJake
    • Elizabeth PerkinsCarol
    • Christopher PlummerBill
    • Dermot MulroneyBob
    • Stockard ChanningDolly
    • Ali HillisChristine
    • Brad William HenkeLeo
    • Julie GonzaloJune
    • Glenn HowertonMichael

    Recommendations

    • 75

      Rolling Stone

      It's a frisky romantic comedy with a great title and wonderfully appealing performances.
    • 75

      Chicago Tribune

      Writer-director Gary David Goldberg's script is full of complex and lively love patter, which Cusack especially rattles off with sometimes breakneck speed.
    • 75

      Charlotte Observer

      Reminds me of the golden retriever that lived next door long ago: endearing, consistently sweet-natured, ready for a brisk turn around familiar territory as long as no strenuous intellectual demands are ever made.
    • 70

      The Hollywood Reporter

      A thoroughly conventional romantic comedy with all the usual trimmings.
    • 70

      Variety

      To properly appreciate Must Love Dogs, one must first love John Cusack. Thesp's maverick turn steals the show in this otherwise middling romantic comedy, which retools standard meet-cute elements for the Web generation in pleasant but uninspired fashion.
    • 63

      ReelViews

      Bland and forgettable - a romantic comedy with affable characters and some funny lines, but where love never really takes flight. It fizzles when it should sizzle.
    • 60

      Dallas Observer

      The movie does find fresh ways to tweak the formula, making it more than the sum of its broad strokes.
    • 50

      L.A. Weekly

      At once over- and under-written, and peppered with tiresome coincidences and misunderstandings, Goldberg’s mechanical, joke-one, joke-two, joke-three approach to ensemble screenwriting soon betrays his TV-sitcom roots.

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