User reviews

Notting Hill is a district of west London that was built as a fashionable Victorian suburb, became very run down during the mid twentieth century and is now once again fashionable, but which retains a distinctly cosmopolitan atmosphere, with London's biggest street market and many small specialist shops. (My wife and I sometimes go there to shop for bargains). The hero of the film, William Thacker, is the owner of one of these shops, a travel bookshop. The film concerns the romance which develops between William and a young woman named Anna Scott whom he meets when she comes into his shop.

As another reviewer has pointed out, 'Notting Hill' is based around a theme, love between people of unequal social standing, which has provided literature with some of its greatest works, both comic and serious, dating back at least to the tale of King Cophetua and the beggar-maid. Although many of these stories tell of a poor but honest lad who aspires to the hand of a princess or titled lady, Anna is not part of the Royal Family or the British aristocracy. She rather belongs to an even more exclusive elite, the Hollywood starocracy. She is a hugely popular film star who earns at least $15,000,000 per film, and pops into William's shop during a brief stay in London to publicise her latest movie.

Although Anna is played by a real-life Hollywood superstar, Julia Roberts, the film is very typically British. William is similar to an number of other Hugh Grant characters, being a shy, diffident middle-class Englishman, probably public-school and university educated. (Despite this background, he is not particularly wealthy following a divorce from his first wife and is forced to share his lodgings with an eccentric Welsh flatmate, Spike). The humour of the film, particularly the dinner-party banter between William and his friends, is mostly of the typically ironic, self-deprecating variety popular in Britain, especially in middle-class circles. Rhys Ifans's Spike, by contrast, typifies another strand of British humour, the eccentric zaniness found in the likes of 'Monty Python'. Spike's strong provincial accent suggests a more working-class background; this possibly accounts for the teasing that he has to put up with from the other characters, although he takes it all in good part.

William may be diffident, self-deprecating and unsuccessful, but he is probably the stronger of the two main characters. Anna is beautiful and successful, but underneath it all she is insecure, worried about losing her fame and fortune and about her inability to form lasting relationships with men. Early on in the film she has another boyfriend, Jeff, but it is clear that he is only the latest in a long string of unsatisfactory romances which have left her emotionally (and in some cases physically) bruised. The scene where Anna says to William 'I'm just a girl, standing in front of a boy, asking him to love her' is the one where we see her at her most vulnerable. Although both characters are in their late twenties or thirties, it is noteworthy that Anna refers to 'girl and boy' rather than 'woman and man'. Anna's vulnerability also comes through in her reaction in the scene where hordes of paparazzi appear on William's doorstep; William tries to play down the incident, and Spike finds it hugely amusing, but Anna is horrified. (The film was made shortly after the death of Princess Diana; this scene possibly reflects British disgust with the antics of the paparazzi, who were regarded as being partly to blame for the Princess's death). Like others, I found myself wondering how much Anna's personality reflects Julia Roberts's own; she too has had a number of unhappy relationships.

Important roles are also played by Tim McInnerny and Gina McKee as William's best friend Max and his disabled wife Bella; the love of this ordinary couple for each other provides a more realistic, down-to-earth counterpart to the fairy-tale romance of William and Anna, helping to anchor the film more firmly in reality. The main charm, however, lies in the relationship of the two main characters, as Anna comes to realise that the seemingly ordinary William has a kindness and decency which count for more than the monstrous egos of Jeff and his like. Like 'Four Weddings and a Funeral', which was also written by Richard Curtis and starred Hugh Grant, 'Notting Hill' is one of the warmest and most human British films of the nineties. 7/10

This movie is almost entirely character driven and it is great. It's very funny, positive and enjoyable. The story is very simple - classic boy meets girl (or vice-versa) scenario. However, Hugh Grant and Julia Roberts' outstanding performances propel this movie to greatness.

Hugh Grant delivers one of his best 'average, humble' guy performances in this movie. Many of his lines were some of the most witty and clever dialog I've heard in a while. Almost reminds me of how Jimmy Stewart could mumble lines and come off as brilliant.

Julia Roberts was sparkling as a somewhat forward but grounded movie star that one could relate to. It was pleasant to see lots of big smiles from Julia.

The other characters were literally 'characters' - bizarre, off-beat, odd-ball, goofy - but at heart warm and enjoyable to watch.

If you're in the mood for a good laugh and pleasant movie-going experience, this is a great movie to watch.

This film was surprisingly good, not my favourite romantic comedy in the world, and personally I think Love Actually and Four Weddings and a Funeral are better. But it is a good film, thanks to the strong performances, fresh script and the film's look. While not laugh out loud funny, Notting Hill is nonetheless warm and charming. The script is fresh, sometimes funny, sometimes insightful. The part where Anna says "I am just a girl, standing in front of a boy, waiting for him to love her", may be cringe worthy to some people, but for me no matter how clichéd it is it shows a vulnerable side to Anna's character. The film is based on love revolved around unequal social standing, William being diffident and unsuccessful, Anna being the complete opposite. The photography is fabulous and the direction is excellent. Hugh Grant is charming as William and Julia Roberts is positively luminous as Anna, and the two have strong chemistry. Out of the supporting performers, Rhys Ifans stands out in a very zany turn as Spike. The music is lovely too. All in all, this is very warm, charming and pleasant, yeah the ending is predictable, but this is a well written and quite irresistible film. 8.5/10 Bethany Cox

After reading the synopsis, 'Notting Hill' sounds like just another melodramatic Julia Roberts rom com. Fortunately, that ain't the case. 'Notting Hill' is fun, sweet, intelligent and … well, simply said, very entertaining. London's Notting Hill does seem like a street you'd like to walk on.

While the storyline itself is larger than life, the characters are real. There is no overt melodrama. We can see that Curtis put a lot of heart and some Brit wit humour into the writing. After meeting William, Anna, Spike, Max, Bella and Honey, we, as audience, really connect to these very interesting characters and care about them. The table discussion in Honey's birthday scene shows how all the characters connect. While a nervous Anna, is new to the group, we see that she eventually gets a hang of them and feels comfortable enough to talk about herself.

Hugh Grant isn't anything different from his other rom coms. Julia Roberts is brilliant. I never liked any of her romantic comedies (e.g. Pretty Woman, I Love Trouble, Something to Talk About etc) but 'notting Hill is an exception. She gives a subtle portrayal as hugely famous but very vulnerable Anna Scott and does full justice. This indeed is one of her finest performances. Rhys Ifans as Spike is standout! While Tim McInnerny, Emma Chambers, Hugh Bonneville and Gina McKee (love her) are excellent. McKee's comedy is extremely subtle and her character is one of the most appealing. She underplays her part with tremendous grace and maturity.

All the actors share a very warm chemistry that just keeps adding on to its quality. The relationship and friendship between the characters is shown in a very sensitive way. While Spike and William are roommates who just seem to get along, we know that they like each other. Also William is about to cancel a date with the world's most famous actress to attend his sister's birthday party. The relationship between Max and Bella is beautiful.

Additional credit must be given to Coulter's amazing cinematography and the visuals. Watch the scene where Thacker is walking through the market and we see the weather change (indicating the passing time). There's a beautiful soundtrack that recites the moods of the scenes. And last but not least, thanks to Roger Mitchell for putting it all together to tell us this sweet entertaining story.

Notting Hill is a neighborhood in London and it's the title of a romantic comedy starring Julia Roberts and Hugh Grant. Two of the most unlikely lovers you could ever imagine get together here.

Grant is the respectable, but somewhat dull proprietor of a bookstore in Notting Hill which specializes in travel books. It looks like he's getting by, but truth be told Grant's perfectly happy with just making enough to pay the bills and a little extra.

Back in the day after she retired from the screen for almost 50 years it was one of those urban legends in New York City to spot Greta Garbo out and about and you'd never know but when she might get a notion to stop into a bookstore like Grant's. In this case Julia Roberts plays a movie star not unlike the real Julia Roberts. Garbo mysterious she's not.

For if she was I doubt Hugh Grant would have considered approaching her. As for Roberts she's looking at Grant as a bit of respite from her life in the media goldfish bowl. When she's discovered it's disaster for both of them.

Notting Hill is a nice romantic comedy with very believable leads in a fairy tale fantasy. I mean who doesn't have a fantasy of wooing and winning some celebrity you might admire or be crushing out on. In that sense Notting Hill has a universal appeal.

In an unbilled part Alec Baldwin plays her boyfriend whom we learn little about factually. But he comes across as an egotistical fathead. One thing you're certain of, no matter what happens with Grant, Roberts and Baldwin won't be an item much longer.

Notting Hill, a nice romantic comedy/fantasy. May you win the celebrity of your desires.

This movie is 20 years old, but it's still the most enjoyable movie I've seen in ages. Why can't they make movies like this again?

Julia Roberts playing a famous American movie star wasn't quite a stretch and yet it felt unconvincing. The humor works the second you're seeing it but then it vanishes into thin air. It feels self conscious and forced. Once all that is said, "Notting Hill" emerges as a pleasant enough improbable romantic comedy in the "Four Weddings And A Funeral" mold without ever reaching the smart, disarming charm of its model. Hugh Grant is lovely in a part destined to seem Hugh Grantish with all the clipped bit of nonsense that have made Grant a household name. The quirky friends and bizarre room mates are the questionable salt and pepper of this romantic tale. I found myself smiling, getting impatient and enjoying it, all at the same time. I'm too much of a Preston Sturgess fan to be able to sit through a modern comedy in the way I did with "The Lady Eve" for instance. My favorite moment: The Horse and Hound sequence. Very funny. If you've never seen a Preston Sturgess, Ernst Lubitch or Billy Wilder comedy, you may like "Notting Hill" much more than I did.

I think I've watched this movie about 20 times. I adore it, adore the idea, adore the script and simply love the way it has been produced. I'll probably watch it again wayyyyy too soon.

The funny thing about Notting Hill is that Hugh Grant comes off as more charming than Julia Roberts. William Thacker (Grant) remains poised & polite throughout all the madness happening in his life, whereas Anna Scott (Roberts) becomes unlikable at times. Still, this romantic comedy is full of likable characters and amusing moments. I thoroughly enjoyed each dinner scene, especially the interactions between Bella (Gina McKee) and Max (Tim McInnerny). Notting Hill isn't one of my favorite creations by Richard Curtis, but it features many elements I like from his writing and it's an enjoyable movie.

It may be a paradox to say that a film can sparkle slowly, yet that's the only way I can describe this charming romantic comedy. The star(dom)-crossed lovers don't know that they are Meant For Each Other ... yes, this is the standard RomCom setup. But the -way- they don't know? That is put across in a most British and deliberate pace and setting. And it makes the ending that we all know is coming gather color and charm.

"Notting Hill" takes over a third of its running time to show William (Hugh Grant) as he is immersed in his daily life, wanting to be supportive of his friends, yet searching for his own inner life. The five closest friends all show something he lacks: "happy" conformity, a loving marriage transcending obstacles, a sister who takes bold risks for finding love, and a roommate that sees through pretense and says so (and, yes, is delightfully vulgar).

That very British character-in-a-wry-setting pattern borrows from "Four Weddings and a Funeral," but the only friends there that I could consistently believe -mattered- to Grant's character were the gay couple, one comic, the other showing profound emotion. Here, all of the lead character's circle deeply cares about him, as he does about them. This makes all the difference.

Where it matters most is in giving him support when the American film beauty (Julia Roberts) comes into his life, then out, then in, then ... and all in ways that are believable for such dissimilar lovers. The romantic turns are more plausible because Grant's character has such support and a place for sharing his emotional roller-coaster ride. He isn't crushed by the down moments, but picks up his individuality and moves on. And his friends tell him, sometimes with only searching looks, just when he's picked up -too much- of being on his own. (Okay, the moment towards the end when Spike puts his exasperation into three pointed, even vulgar, words is a refreshing change. Sometimes, when a friend lets loose with the pithy truth, it hits the needed spot.)

All this backstory, character richness, and pointed use of the "right" words are British qualities that we don't get with the standard American RomCom setup.

Gina McKee's turn here as Grant's wheelchair-bound female friend is of someone with deeply felt individuality and unique perceptiveness, including her own tender perspective on loves past and present - especially her husband. It's a glimpse into a woman with distinctive qualities that -she- has chosen. This makes her both appealing to all her friends, and forceful by quiet understatement. She also ends up being much funnier, when you've rewound the tape and end up thinking about the story. (Listen for her spoken turn on "standing up." No, it's not a cheap play on her limitations. Not in context. And that's subtle comic acting.)

Richard Curtis's inventive screenplay is one of the best in years, and would reward a look in book form as well. He takes this backdrop of supportive friends, puts in the sparkle of Roberts invading and shaking up their world, and creates a skein of personal truths and imposed celebrity nonsense.

Grant and Roberts are both passionate and bemused observers of the absurdities of fame that end up surrounding them, but they act this out in comic byplay and inventive responses. This isn't an American breakneck-pace (or "screwball") comedy, and their subtle discovery of each other's -minds- and substance wouldn't work in such a setting.

Roberts has both the easy familiarity with and the hair-trigger of frustration from fame, both coming out to undermine her when she least expects it. But she shows that she can grow and learn from her mistakes. (Unlike her well-acted but overexplained realization at the end of "Runaway Bride.") She even has one scene -sans- makeup that is a genuine romantic turning point. I don't see many other actresses being willing to try that.

Grant shows an astonishing inner strength and self-awareness, not being willing to hide how -he- sees reality. (He did the same realistic turn in "Four Weddings," but didn't try nearly as effectively to figure himself out.)

The photography and settings show off London beautifully, and the story's interior scenes make highly imaginative use of a narrow, stacked-up Notting Hill mini-townhouse.

I do feel the director fails to take up some opportunities to build on the comic or dramatic moments in the screenplay. He coasts on the words. They're excellent words, but they need a twist at times.

My only take-off-a-point[*] quibble is with the music. It's mostly popular tunes that underscore the action. One of these is luminous, and frames the story perfectly - Elvis Costello's cover of "She." Others, though, use their lyrics to overstress plot points. Some are performed too high in volume, sometimes lapping against dialogue.

(The two original themes by Trevor Jones are beautiful, lushly written, and quite fitting to the main characters. We should have had more of his work, but they're less than a fourth of the film's music.)

The British often put more creativity below the narrative surface and into the setting than Americans do, and often get beyond formula. To discover this in a film is joyous. You'll feel this when you find yourself compelled to see this deeply felt, yet very funny, film twice, thrice, or more. For me, it's still delightful after nine months and nine viewings.

[* Edited on 21 April 2011: After another decade and another ten viewings, this love story has only become more resonant and beautiful. The pop-song choices feel notably less obtrusive. The acting of both Roberts and Grant has evinced more depth. And I see no reason to not give it a full 10 rating.]

I'm a sucker for most romantic comedies, and I must admit that Hugh Grant and Julia Roberts are like a dream-team to star in a rom-com. I also adore the premise of this movie, because it naturally creates situations that will be humorous. Any time the mega-famous interact with ordinary people it is potentially funny, and I particularly love how Hugh Grant is constantly trying to downplay the whole situation. They also fill the cast with a number of hilarious characters that add to the laughs. The first dinner date that they have is easily one of the funniest scenes in a rom-com, and I love every minute of it, particularly when it gets dark for a moment and they know just when to surprise you with a joke. They do stretch the limits of believability a few times in order to manufacture more comedy, but I still think it works, particularly watching Hugh Grant stumble through media interviews in a movie's press junket. There's so much to like in Notting Hill that I almost feel like it should be one of my all-time favorites, but it isn't. So let's talk about why.

First and foremost, I struggle a lot with the mean-spirited outbursts that Julia Roberts is given in the script. I feel like the massive difference in social status between the two characters is enough to create the kind of tension that is necessary to add that touch of drama required by any rom-com. But instead of relying on that, they crank her up to ten, and have her be downright vile to our protagonist. In the end, I struggle along with Hugh Grant's character to decide if forgiveness is the best course, because that kind of personality trait isn't going to just disappear. The other thing about Notting Hill that has always bugged me are the needle drops. I know this is going to sound like nitpicking because this isn't the kind of thing I ever notice, but it stands out like a sore thumb here. Every single song they plop into this movie is easily the most cliched or on-the-nose choice, and that rendition of "She" by Elvis Costello is nauseating. Aside from these bad choices, Notting Hill is a solid film, I just wish they tweaked it a little more to make it great.

Notting Hill proves one thing -- jokes lie in the oddest places. This film is an excellent vehicle for Julia Roberts to put her own life as an actress under the microscope. While Roberts' "Anna Scott" character isn't an autobiographical figure, the Scott character allows for some biting satire at the life of Roberts herself. Need I mention some excellent one liners in the film like the sister of Hugh Grant... "I feel like we are sisters", an excellent throw-back to "My Best Friend's Wedding"... or my favourite, a discussion about nude body doubles just before a nude Julia Roberts (or a Julia Roberts body double) crosses the screen.

Apart from the small bit of satire, Grant's character plays on the emotions of every guy who has ever unexplainably fell in to, threw orange juice-on, lost out on, and fell back in to love. Roberts character can only help us understand how such a relationship as the one her and Grant share in the movie, could be "Surreal, but nice."

A sweet film surely not to be missed!

I watched this movie because I am currently living near Notting Hill, so I felt like I HAD to watch this movie.

It felt really cute, I think 90s RomComs will always have a special place in my heart. I just love the aesthetic from that time. The whole movie looks nice and both Hugh Grant and Jukia Roberts look stunning.

Nevertheless, I didn't feel that much chemistry between the two of them. I never saw the real spark growing, or when was the exact moment when they fell in love.

At times it felt bland and plain, with not so much "spice" in the plot. But it was OK, I liked it. Not the best 90s RomCom but it was cute.

Julia Roberts is the queen of Romantic Comedies. Her iconic role in Pretty Woman should give her the title alone, but she's been in tons, some good while others weren't. However, she chose a good one in Notting Hill.

Notting Hill is a sweet, good-natured romantic comedy that succeeds on every level it is trying to be. The story is well-written and more original then it may come off from the trailers. This is a film about movie stars that actually have meaningful conversations about being movie stars. Hugh Grant is also dashing in the leading man role. Roberts actually gives best "Rom-Com" performance here, aside from the Oscar-Nominated, Pretty Woman. She restrains herself and isn't loud or obnoxious, just true to the character. This is some of her most underrated work.

With beautiful shots of London and a sweeping romance, Notting Hill is an example for future romantic comedies. I only had one problem: there is a huge gap in the middle where Roberts is off in America. I understood it was important to the story, but it didn't have to last 20 minutes. This is her story as much as it Grant's, but the writers put her on the back-burner.

While the ending is predictable, it's sweet and makes you smile. Wonderful film; 8.5

I was overall not too impressed with this movie. I found it to be very predictable and not too funny as well. Julia Roberts plays an actress- Anna Scott- who is filming a movie in London and meets a normal Joe named William and they develop a romance. I didnt think the love story between William and Anna was well developed at all. She was a total bitch to him and any normal guy would have dropped her like a bad habit instead of being such a chump. Spike the roommate was funny but hard to believe a guy could be that big of a dork in real life. The ending was typical and very predictable. I give this movie 6/10.

Visually lovely, "Notting Hill" becomes an enchanting fairy tale.....a magical and endearing love story, from the opening credits to an afternoon of quiet sharing in a London park. Being a romantic at heart, I was emotionally drawn to this well produced and entertaining motion picture, enticing me to view it a number of times more.

Some friends have indicated that the "plot" is boring and in 2 hours and 4 minutes takes too long to come to an expected conclusion. But the lyrical chemistry between William Thacker (Hugh Grant) and Anna Scott (Julia Roberts) give intimate glimpses into the human heart and spirit. As in Mary Poppins when Burt jumps into the chalk sidewalk drawing, I longed to join this tapestry of two people falling in love, among caring friends and relatives. To longingly look into Anna's eyes and to see a reflection of your very own soul of hope and humanity may seem less than exciting to some people.....too involved in their fast paced, action world and who fail to see the beauty of life around them....to smell the roses.

Watching the inflections of Julia Robert's face became a mesmerizing cinema experience. And Hugh Grant's thoughtful and honest, yet quirky presence gave hope to what could be possible. Then wrap all this with a humorous, loving and insightful group of friends and family......WOW!

After watching "Notting Hill" with my wife and giving her a big hug, I saw that she was just a girl, standing in front of a boy, wanting to be loved!

What greater joy of meaning can be given by a film?

"Teach me the Magic of Wonder, Give me the Spirit to Fly" - John Denver

On the surface Notting Hill may present itself as fast food for the broken heart: a harmless piece of feel-good cinema fluff that might double down a night with the Ben & Jerry's in pajama bottoms. However there's much more to this nineties formulaic screwball comedy than meets the eye.

The far-fetched plot of Notting Hill draws its inspiration from previous fantasy driven screwball comedies such as Frank Capra's It Happened One Night (1934) and Mr. Deeds Goes to Town (1936). These pioneering films in screwball comedy capitalized on the glamorized fantasy of the average Joe (or average Jane) living the unthinkable: an actual romantic, meaningful relationship with a bona fide world-famous celebrity.

Capra's timeless classics however, were developed in the shadow of the Great Depression, addressing the social issues of inequality amidst the fairytale-like courtship of its protagonists. This was a crucial element to those films; it gave context and grounding for a romance that would otherwise feel completely unreal to the audience. Notting Hill seems to allude to this fictionalized awareness, with both Grant and Roberts repeating the line "it was surreal, but nice." This line in particular felt like a wink to us in the audience, since the filmmakers of Notting Hill are unable to make their picture entirely believable. It's as if they are telling us that we should just go along for the ride.

Capra's films on the other hand, fully immerse us in their world because the celebrity and "everyman" meeting scenarios are not entirely serendipitous. Quite the opposite, in fact, they meet through carefully developed character motivations and fully established locations. Notting Hill has us take an almost religious leap of faith into believing that one of the worlds largest superstars casually buys books without a chaperone or bodyguard in a working-class district of London. When Hugh Grant spills juice on her shirt it requires a second major leap of faith to believe that she would enter a strangers apartment, again without any sort of bodyguard or chaperone, to clean up. To that effect, Kevin Costner and Whitney Houston present a far more believable couple in the action romantic drama The Bodyguard (1992).

However, I have no problem turning off my inner critic and push myself to enter the world of the film which isn't drawing me in on its own. I enjoy many cheesy romantic comedies and have no problem defending less believable plot lines like 2001's Serendipity with John Cusack and Kate Beckinsale. Notting Hill however, has far worse writing and a weaker supporting cast. Its comic timing is always a bit off, and even has Hugh Grant saying outlandish lines like "Ill stabbed him to death later", meant as a joke early in the film when his roommate doesn't pass along a message left by Julia Roberts (Anna Scott).

The supporting cast in this film fulfill the role of a cliché group of British pub crawlers and middle-class domesticity. The one twist in this, which could have been a very interesting character, was a paraplegic woman named Bella played by Gina McKee. However, instead of fleshing out her dialogue she is left as the inspiration p**n for Grant and Roberts' hardships. What's worse, the director actually has her leveraging her disability in order to grant Grant (no pun interned) access to a press conference with Roberts. It seems that Gina McKee's character exists in the film only for this, which is a tragedy of filmmaking in and of itself.

The worst aspects of Notting Hill lay in it's character development and completely unhealthy relationship dynamics. Julia Roberts plays an almost pathological narcissist: someone who lies and cheats on Hugh Grant and is completely incapable of any heartfelt apology. It's interesting to note that she never says once in the film that she loves Grant's character, William Thacker. Instead, after breaking his heart twice and lying to him, she asks for him to love her (after a little time has passed, of course).

The film sells the relationship on the chemistry of Hugh Grant and Julia Roberts and the celebrity fanaticism that it expects from its viewers. In fact, almost every character is enamored with movie stars (even if they don't know which film Anna Scott is in) and plays the everyman role as some sort of stupefied stooge drunk at the alter of celebrity worship. I couldn't help but feel somewhat offended, as if the filmmakers see the public as dribbling idiots who want nothing more than autographs. Even Grant's character, who perpetually "plays it cool" is shown in movie theaters gazing upon Roberts in a bizarre peeping-tom like obsession. Six months after she cheats on him he is still lost in his daydream of Roberts, replaying her films. Some of the scenes are a little reminiscent of Stockholm syndrome in the way that Hugh Grant is portrayed as the non-functioning sad sop who can't get over this femme fatal.

Perhaps to combat this state of events, the producers of the film have laced every montage and establishing shot with the most unbelievably saccharine soundtrack I've heard in years. Once again, it's as if the filmmakers don't have confidence in the script they've made to draw us into a world of actual romanticism. They need to create that romanticism artificially with a score of Al Greene and other musicians that created songs which far surpass the material they are being used for.

The most painful part of the "Notting Hill experience" has to be the way Hugh Grant's character is written. Obviously aimed at an unintelligent and emotionally stunted audience of People magazine readers, William Thatcher is portrayed as the ultimate non-believable hunk: He's handsome, charming, unassuming, self-effacing, and yet always has the first two buttons of his shirt open and just enough confidence to say the right thing. In addition to this, he's inexplicably lonely and unattractive to the outside world, despite his undeniable good looks and charm. As a character he has no depth, his past marriage is explained away in one sentence we can see no reason for him to be the suffering hunk that he is, aside from the necessary role that he plays in his "accidental" meeting with Anna Scott (Julia Roberts). The script reminds us that he was put on this earth to please her narcissism and "treat her right" while she is there to reap the rewards of an undiscovered handsome ball of charm.

Ultimately this film was a commercial slam dunk and for somewhat obvious reasons. It gave a somewhat interesting peek into the life celebrities and lets us bask in the glow of our adoration for Julia Roberts, not unlike Busby Berkeley did for Ruby Keeler in his 1930's musicals. Julia Roberts was at the zenith of her career in the 1990's. She has always been a magnificent actor and a terrific beauty, so I was not spared from the spell myself. However, I cannot be sold entirely on a film based on respect and attraction to a single celebrity. The characters need more substance and definition, as well as motivations that extend beyond the codependent and unhealthy dynamic presented to us.

While the film has an admirable switch in gender roles, it takes this too far in certain respects as well, with Julia Roberts trying to buy off Grant's character with an expensive painting. It hits all the right notes for the lonely middle America working woman. It has moments of defiance, gender reversal, and a completely submissive and buttery hunk, mastering in the art of spinelessness. The film ends with an ultimate montage of wish fulfillment, overlaid with sappy music to show the good life of marriage, pregnancy, and happily ever after. A final reminder that the script itself is void of any real identity.

I can't recommend this movie as a good piece of screwball comedy fluff. However, it is a pretty fascinating look at our culture's fanaticism over celebrities, the way the movie industry views us within that fanaticism, and our skewed complexes for dating fantasies. it seems that we can find any romantic comedy decent enough when codependence and narcissism are normalized by attractive actors and a half-baked script. A forgettable, yet not wholly purposeless movie.

Whether or not realistic, this is a wonderfully touching fairy tale like story of the romance between two people of unequal social and financial standing. The beautiful, rich, and famous American movie star is superbly captured by the incomparable and always endearing Julia Roberts, who brings such a wonderful vulnerability to her roles. Hugh Grant is perfect as the shy, stammering, bumbling, unassuming, obscure, and not very affluent London bookseller, who shares a flat with his zany, weird roommate, Spike.

The tale revolves around the world's most famous actress, Anna Scott, who visits a Notting Hill travel bookshop and thereby meets the very ordinary British bookseller, William Thacker. Improbable as it might seem, the two fall in love despite the fact that Anna already has a 'significant other' in the form of the obnoxious star, Jeff, who treats her poorly. Alas, Anna and William's romance is of course subject to hounding by the ubiquitous media, making the course of true love definitely not run smooth.

Just an aside, but did the screenwriters get Hugh Grant's character's name from the Victorian novelist, William Makepeace Thackeray? It seems quite a coincidence. Ha, ha. Anyway, nice name...

The film does a marvelous job conveying what must resemble Julia Roberts' own fishbowl life, subject to constant media scrutiny and innuendo. She must have identified strongly with the character she was playing, not only the media nuisance but also the failed relationships so common among film stars. Her hounding by the paparazzi is also of course reminiscent of that plaguing the late Princess Diana, and of course, sadly, resulting in her death.

The portrayal of William's friends is very touching here, as their reaction transforms from understandable awe at socializing with such a famous star, to accepting and treating Anna as basically an ordinary person and good friend. The viewer gets a sense of how much this response, this genuine friendship means to Anna. One of William's friends is a disabled wife in a wheelchair. Her normal, ordinary life and attitude are well captured and would be well received, I believe, by viewers with physical disabilities.

The love story is beautifully depicted. The sadness of Anna's failed past romantic involvements is conveyed, and despite the fame, her vulnerability as being really just 'an ordinary girl in love with an ordinary boy'. The portrayal of William is touching, as he copes with all the media attention, sees the actual person behind all that fame, wealth, and glamour, and tries to give Anna the genuine security and the 'ordinary life' she so desperately craves. A fabulous, moving, and ultra romantic film with a relevant message regarding modern society's perception and treatment of its movie stars. We can all learn a lesson here.

Bookshop owner William Thacker's (Hugh Grant) life is turned upside down when Hollywood star Anna Scott (Julia Roberts) ventures into his shop.

By definition, Notting Hill is crowd pleasing fluff for the romantically inclined. Nothing wrong with that of course, chances are that if you have tuned in on TV or loaded this film on your player, you are fully expecting a fluffarama with lots of toothy smiles. Sure enough Notting Hill, written by Richard Curtis and directed by Roger Mitchell, delivers everything that the wish fulfilment plot synopsis suggests it will. And nicely providing a few laughs into the bargain as well.

That it stops short of being a top line rom-com falls at the feet of Curtis and his over egged script. The comedy is razor sharp and the romance is excellently fleshed from start to finish, but in his need to add drama via media intrusion and a "woe is me" life of the actress, Curtis comes dangerously close to fluffing his, well, fluff piece.

Still, it's a flaw that doesn't sink the film, because hey! We want feel-good and that's what we shall bloody well get! Hugh Grant and Julia Roberts take the lead roles of our mismatched (matched) coupling, and as it turns out it's a fine bit of casting. Roberts is not asked to do much other than smile and work well opposite Grant's wonderful foppish charm, while both actors benefit from an excellent supporting cast who rise above what in essence is a roll call of rallying around your mate mates!

Especially praise worthy is the efforts of Gina McKee and Tim McInnerny, whose sub-plot story could have been twee, but thanks to both of them it actually adds an emotional pull rather than being a shoehorned hindrance. Cringe comedy comes courtesy of Rhys Ifans (owning every scene he is in) and James Dreyfus adds extra light relief as William's assistant at the shop, Martin.

There's no Wet Wet Wet theme tune to outstay its welcome, and Roberts says her cringer line with far more oomph than that of Andie MacDowell. To which all told it makes Notting Hill no masterpiece in a much loved genre, but crucially it is however a delightful frothy film that hopefully makes you smile as much as it does yours truly. 7/10

Not usually impressed with Romantic Comedies, i found this one strangely compelling. It really was a nice movie, littered with great characters, especially Spike played by Rhys Ifans (Hilarious).

The story demonstrates to the extreme that love can occur between the most unlikely of people, and the humorous portrayal of this, is both touching and realistic. And i mean realistically created, not necessarily true realism.

Worthy of your attention, this well written romantic comedy is a must for fans of the genre and is a good gamble if your not.

8/10

Sorry I can't understand why this film is evaluated as a great work. It's a just story about super selfish woman and normal man.

Notting Hill holds up more than two decades after its release in 1999. This utterly charming Cindafella daydream is one of the best romantic comedies to ever grace the big screen, with a perfect pairing of Roberts and Grant in the lead roles, backed by an equally spot on casting of the engaging supporting cast.

The film keeps things simple - Average boy meets famous girl; Boy wins over girl; Boy loses girl; Boy wins back girl; Both live happily ever after (or at least long enough for the credits to roll). It's a classic tale, done with a deftly light touch, devoid of any complex tension - we know its going to end happily, because it's the dream many have despite knowing odds not in their favor, but this is a modern fairy tale - happy endings are required. Even if just a moment in time, perhaps that is enough for anyone to have a dream come true.

An all-time classic that has moved onto my Top 25 romantic comedies list.

Here's my issue with this movie: there are so many vivid characters and they're so funny with an army of veteran British acting talent to make them pop off the screen...

Yet the main focus of the movie is on such a bland character with no personality beyond feeling sorry for herself and looking good naturedly over sunglasses.

The movie actually tries to sell you the idea that she should have your pity.

Like most of this kind of movie, the central narrative is derivative and plain but all the little moments of comedy that adorn it are a joy.

In the brain-dead world of the U.S. sitcom, there's a common plot device called "embarrassing the protagonist," in which some idiot writer apparently finds mountains of hilarity in rendering the protagonist speechless; as with a kick to the groin, getting covered in gallons of some food product, or stammering out a rambling monologue when the guy/girl should really just shut up, etc. Somebody, somewhere, must find these things funny. If you see such a person, please smack them, and if you are such a person, what on earth is wrong with you?

There are about three genuinely funny moments in "Notting Hill," and the rest of the film features various Brits making asses of themselves. I wasn't laughing, I was cringing. This is entertainment?

Not a single character in the film is particularly nice-- note how Thacker tries to impress the girl by calling his roommate a "pea-brained idiot." (Well, maybe he is, but guys don't usually impress girls by insulting people, do they?). Anna Scott is remarkably shallow and is given about 3 lines of character development in the whole film, all of which occur during the birthday party scene. Why is Thacker interested in her, other than because she's famous? Why is Anna interested in Thacker, other than he looks like Hugh Grant? These questions are ones we loud Americans are apparently not allowed to ask, we're just supposed to point and laugh and actually believe this couple actually has a shot at a real life. The characters barely talk after they meet; character development is replaced with pop songs. Note to director: it's NOT THE SAME THING!!

Shallow characters, shallow writing, and it seems to be shallow directing, too, as the actors really do their best with the material given, which is really just Generic Sitcom Plot #7 stretched to feature-length, with better cinematography. 5/10.