Moral ambiguity notwithstanding, YOU’VE GOT MAIL is still formulaic to the point of being boring, despite the best attempt by its stars. Meg Ryan is cute as a button and Hanks reminds us why he needs to do more straight comedies, DA VINCI CODE aside. Together, the pair does have an undeniable chemistry; it's just too bad that it's mostly an afterthought until the final act of the movie. The same could be said for SLEEPLESS IN SEATTLE I suppose, but here everything leading up to the end is painfully trite and lazy. I enjoy some good love-hate bickering as much as the next guy, but their relationship is drawn out so much its maddening, with a bizarre structure that rushes the entire “romantic” and “comedy” sections in to the last five minutes. Then they throw you an ending they don’t earn at all, in the hopes you’ll just accept it and forget everything that came before it. (And is it me or does Ryan’s final reaction not make much sense?)
Also, way to cast comic talent like Steve Zahn and Dave Chappelle, but not use them at all. You’ve got FAIL. (Sorry, Internet Meme Law dictates I had to use that at least once.)
Commentary by writer/director Nora Ephron and producer Lauren Shuler-Donner: Both ladies talk on topic the whole time, but none of it really grabbed me. I blame the movie.
Delivering YOU’VE GOT MAIL (25:27): Hanks, Ryan and Ephron sit down to reminisce about the film 10 years later. Hanks is funny, Ryan still looks pretty good and the two seem to get along. Is another collaboration in the cards?
You’ve Got Chemistry (26:15): Yes, we know Hanks and Ryan work well together. That’s why people watched the movie in the first place. Thankfully, this featurette also looks at classic on screen couples throughout movie history. Who knows…maybe this’ll spark some interest in classic films.
HBO First Look (14:21): A conversation with Nora Ephron from the film’s release that covers similar ground.
Discovering New York’s Upper West Side: Eleven mini-featurettes centering on some of the shooting locations from the New York setting, which Ephron considers a character itself.
Carole King’s “Anyone at All” Music Video (3:12): Didn’t do anything for me.
Music Only Track: Watch the whole flick with just the tunes. Because you have too much free time.
Extra Tidbit: Anybody else find it ironic that in spite of its Anti-Big Corporation message, this movie is pretty much a two hour commercial for AOL and Starbucks?