i loved the story line. i loved the apprehension in the 2 main characters. there were no unnecessary scenes. it was a rom-com with a great ending. the genuineness of the film was a great add and the story was believable. if you want a great original french film with the true detail of being French then i suggest you watch this movie. kind of reminded me of along came polly minus the ferret. cute and would def watch it over and over again. sometimes you have to take a chance in life and even give chance a chance. sounds corny but its true. what i got from the story is: you can't always react reactively to circumstances, sometimes if you take it for what it is, step back and let things find a way to take its course, it may just happen, and you get a little extra push when its least expected. wish netflix didn't remove it.

ROMANTICS ANONYMOUS is a quiet gem - - a joy to be savored throughout nearly all of its brief 79-minute span. The entire cast is likable, including those in supporting or even minor roles. There are no bad guys, which is refreshing in itself. The two leads (Isabelle Carré and Benoît Poelvoorde) are superb, and the four chocolate factory employees are wonderfully true to life. My only reservations would be that bizarre, incongruous scene with Angelique's mother, which seems to be accidentally spliced in from some other movie's cutting room floor and (more damaging still) the unsatisfying conclusion. I won't throw in a spoiler here, but in my opinion, there was no reason to go beyond the final, sweet reconciliation and show . . . well, everything that comes next. Far better left to the imagination. Take out those two egregious miscalculations, and you have a well-nigh perfect little film.

Romantics Anonymous (2010)Sometimes a feelgood movie is so obvious you know at the start how it's going to end. But it feels so good it doesn't matter, and that's the way "Romantics Anonymous" works. The leading woman Isabelle Carre ("He Loves Me, He Loves Me Not") is a sweet, cute, lovable introvert, and I suppose any movie with her in it acting vulnerable and awkward would be a winner. Next to her is a very geeky kind of leading French actor, Benoit Pelvoorde, who is utterly brilliant even if he won't quite steal your heart. Or maybe he will. Part of the movie's aim is to take two mild misfits who are lonely and yet rather wonderful inside and get the audience to identify with them.Another major character is the little chocolate factory where they meet. Seeing the chocolates being made, and tasted, is part of the fun of the movie. Even if you don't like chocolate you'll see the pleasure of a superb high-end chocolate being developed as you watch. There are then two groups of sidekicks, one for each character. The woman goes to group therapy for her emotional issues (hence the name of the movie) and the man has his staff at the factory. All of them are, en masse, supportive and sweet.In fact, with all this sweetness going on you might wonder how you can stand it. And I suppose that's where you appreciate that it's just an hour and a quarter. Plenty. Even at this length you yearn for some complication, or some depth. Our two lovebirds are great but they remain oddly cardboard thin, too. It's a bit ogre-ish to complain about such a well-meaning and well-made movie. It's edited with breakneck speed, shot well, acted well, and rises up the television sit-com genre it may somehow owe something to. Give it a look. Totally fun.

This is a film that depends totally on the right leads, in fact it is crucial to the whole thing and in Isabel Carre and Benoit Poelvoorde filmmaker Jean-Pierre Ameris strikes gold. The two actors had already appeared in together in Ann Fontaine's Entre Ses mains, a much darker film in which Poelvoorde, who made his name as a stand-up comedian, played a serial killer to whom Carre is drawn despite suspecting him. Here they are called upon to portray two chronically shy people who clearly are made for each other but unable to act on it. It is not, of course, the first time food has been employed as a metaphorical match-maker, witness the wonderful Mostly Martha, and chocolate itself has racked up considerable screen time but even so Romantics Anonymous gets the blend just right unlike Carre's and in one respect we could say that here Carre shows Audrey Tautou - whose own attempt at the genre recently suffered from a lack of chemistry between the two leads - just how to do it. I am fully aware that for everyone who revelled in it as I did there will be those who fail to see the magic - but then there are possibly those who don't 'get' The Wizard of Oz or Meet Me In St Louis - but all I can say is I'm ready to watch it again.