Two Weeks Notice

So, here we have it. Proof that, after a brief soirée into sharp semi-serious intelligent comedy with serious writing talent (About A Boy), Hugh Grant is back to the kind of light insubstantial chick flick that has made his career. But that doesn’t have to be a criticism. There’s a reason Hugh Grant has made a career from this kind of work: he’s damn good at it.

Sandra Bullock is a downtrodden idealist lawyer (no, really) who finds herself campaigning against an irresponsible idiot millionaire (Grant), before accepting a job as his legal counsel. He proceeds to treat her as his personal assistant, denting her professional pride and leading to her resignation. Grant turns on the charm to persuade her to work her two weeks’ notice and promise to find him a suitable replacement, and in the intervening time the two of them fall in love.

The plot’s maybe a little thin; the fact that it works is mainly down to the skill of the two leads, both of whom produce performances sufficiently charming to win over the most sceptical of viewers. And there’s just enough cynicism to offset the superficially sugary coating. The script, though simple is well constructed and the presence of Susan Morse (who learnt her craft editing Woody Allen’s films for nearly thirty years) in the production team seems apparent in the class and timing of the set piece comedic moments.

For once, this is a romantic comedy that lives up to the name.

Al Ellis