Fast forward a few years later and of course they are both set to marry other people, but both still think about each other maniacally. After a series of ridiculous Shakespearean type slapstick mishaps, they do *SPOILER* of course wind up together, back in Bloomies. I know - just reading the plot description is entirely cringe-inducing, and the plot is completely ludicrous, but somehow the movie winds up loveable. John Cusack is kind of hot despite hitting on Beckinsale within three minutes of meeting her, Jeremy Piven shines as his hilarious best friend and the Watson to his Sherlock, and even wishy-washy Kate is alright. Also, great small-parters for both Eugene Levy as a stuck-up Bloomingdale's salesman and Molly Shannon as Beckinsale's realist best friend. Finally, New York lovers will be happy watching this movie, as the city figures in almost as another character itself: the Waldorf Astoria is a prominent backdrop, as is the Central Park Skating Rink.
The movie itself isn't really what I'm commenting on, though. One shot really caught my attention. It's a shot of the driving range, and it's one of those bald, full-frontal shots you rarely see in conventional films. I appreciate directors like Wes Anderson and Tim Burton for their use of geometric lines and this shot is an exceptional example.
I don't know, maybe it's because it reminds me of a dollhouse, a simultaneous peek into multiple lives and moments. Like something being sliced open, sliced in half, and you're omnipotent, looking in.
Also loved these shots just because it's an artist's gorgeous New York City loft with exposed brick and art everywhere.