Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Hector Elizondo, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley MacLaine, Emma Roberts, Julia Roberts, Taylor Swift. —There. That’s about all that need be said, and the ads already said it. In grudging addition, it might be considerate to say, by way of warning, that out of the multicultural, multigenerational, multidemographical alphabetical all-stars, Jennifer Garner and Ashton Kutcher command the most attention. And it might be charitable to say that only Topher Grace and Anne Hathaway demand any more. It might, too, be appropriately pointless to point out the unbilled cameo of Joe Mantegna. Apart from the celebrity merry-go-round, no other focus of interest will be found within the movie. (Without, there might be some slight interest in contractual and scheduling matters.) In Katherine Fugate’s screenplay, the navigation of the human heart, morning to night on the Fourteenth of February in Los Angeles, is as a leaf afloat on a puddle: superficial on top of shallow. But then, director Garry Marshall has never been one to venture so deep on any subject as to bother about rolling up his pants cuffs. (2010) — Duncan Shepherd
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