Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Exactly the movie you think it is, but not the movie you want it to be.

Juliet Stevenson is quite affecting playing a single mother--with eligible men beating down her door--who is preoccupied with the ghost of her deceased boyfriend who has taken up residence in her flat. Relatively gimmick-free British comedy was quickly labeled by professional critics as the thinking man's "Ghost". While comparisons between the two titles is rather unimaginable today (and, ultimately, irrelevant), the film does have a familiar ring to it. Still, there are many pleasurable sequences, including spirit Alan Rickman having other-worldly visitors over for movie night, debating the merits of Woody Allen's output. Amusing and clever, the picture does somewhat overstay its welcome, though is ultimately blessed with very fine acting. **1/2 from ****

Nina's {Juliet Stevenson} life is torn apart with the unexpected death of her lover, Jamie {Alan Rickman}. Stuck in a rat infested flat and under expensive therapy, Nina's grief is suddenly stopped in its tracks when Jamie comes back into her life as a ghost. Just as Nina meets Mark, a potential suitor.For his first feature film, director and writer Anthony Minghella chose this touching, and often funny, tale of bereavement and learning to love again. Written in the main for Stevenson to showcase her talents, its strengths lie in the actors performances, the sensitive writing and its low key moody production ethic. Often it's been tagged the British answer to the Moore/Swayze movie Ghost. That's a lazy link and a touch misleading, as this is, if anything, the anti blockbuster movie, while the respective plots bear little resemblance. And besides which, this was made quite some time before Patrick and Demi were playing slinky round the pottery wheel.Stevenson is marvellous, she gives Nina real depth, and in one grief stricken scene she delivers one of the most believable enactments of that emotion ever put on to celluloid. Rickman shines as he gets his teeth into something outside of the bad guy roles he was {still is} known for. Watch out for a poem (La Muerta) segment shared between the two, pure class. And as Mark, Michael Maloney is hugely effective in what is the tricky third wheel role. While the impressive acting on show is boosted by Barrington Pheloung's poignant, rhythmic musical score.There are a number of interpretations put forward as to what Truly, Madly, Deeply is about. But really it has to be down to the individual viewer to make their own deductions. What isn't in doubt is that for anyone who been deeply in love or has lost a loved one to death, this film can't fail to ignite a number of emotions. Even as the comedy takes a hold, comedy which sits nicely within the structure of the tale I might add since some critics were baffled by the blend, one just knows we are being guided to a telling point where the story finishes for the protagonists, but goes on for us viewers long after the credits have rolled. To first time viewers I say, banish any hope of Hollywood histrionics and flourishing visuals and let Minghella and his wonderful cast take you by the hand. For the rewards are there for the discerning adult. 9/10

Last night, I saw this this film at the Egyptian Theatre in Hollywood. Minghella's daughter was in attendance. What's fascinating is he actually left the world among his body of works, one that dealt specifically about grief.His first film as a director is quite intelligent. It's also quite stagy and does have the ghost of Alan Rickman not really doing much of anything other than being a seducer.However, when by yourself, it's only natural to talk to someone that you'll talk to again, at least as two living human beings. The important message is though you mourn, you must carry on and face responsibilities while still part of this world.There's also a sense of humor about this. A lot bunch of dead friends show up to watch videos. Interesting that they could fill in interesting tidbits while watching. Such as the early death of Eric Campbell, who was usually cast as Charlie Chaplin's enemy in his early shorts.This is one of those films that makes one smile and laugh at the same time. God bless Anthony Mighella.

I'm not sure where to start in a review of the movie, Truly, Madly, Deeply.Between a magnificent score, the impeccable performances of the two leads and the unspoilt raw emotion, this movie will appeal to anyone. Well, in my mind, it should appeal to anyone.Juliette Stevenson's performance is unbelievable good. I doubt many could have captured the pain she expressed in the now famous piano/cello scene. Grief at its finest if grief can ever been seen this way.As for Allan Rickman, the role seems perfect for this actor of limitless talent. The chemistry between he and Stevenson is obvious to most and touching to those who are a little more in tune with such a feeling.In between many highs and lows of gut wrenching emotion, this movie has lots of light and cheerful moments that truly add some balance to this real life drama.Love and loss are, in some, the most raw and powerful of emotions. This movie stretches love and loss to its limits. And just when you think you've seen and felt enough, a little more is added in for good measure. After all, love and loss hurt - in differing ways.Some will relate to this movie. Many will be touched by its expression of devotion and the human challenge of moving on. But, for me, the important message from the movie is that we can all move on and live...its just harder for some.See this; its magnificent. A definite 10/10...