Romantic comedies may no longer be the commercial slam dunk they once were, but there’s something intriguing—even enticing—about watching the stars from the genre’s heyday return to it with more life experience.
Fun and effervescent with just the right touch of grit, “Office Romance” is a film that could have been made two or three decades ago, suggesting that the formulas that once made romantic comedies a Hollywood staple have not necessarily aged out of relevance. But credit to its pedigreed star: a “The Wedding Planner” or “Maid in Manhattan”-era Jennifer Lopez could not have made this film with the same grace and self-assurance she brings here. Director Ol Parker, who previously mined “older rom-com” territory with Julia Roberts and George Clooney in “Ticket to Paradise,” builds crackling chemistry between Lopez and co-star/co-writer Brett Goldstein (“Shrinking”) while giving the longtime romantic-comedy fixture one of her most luminous roles in years.
Working from a script by Joe Kelly and Brett Goldstein, Lopez plays Jackie Cruz, the hard-working CEO of an airline her father, “Captain Jack” (Edward James Olmos), founded decades ago. Although she’s emphatically—almost excessively—supported by her nine-months-pregnant executive assistant Sydney (Betty Gilpin) and the company’s cutthroat lead attorney Peter Vance (Bradley Whitford), Jackie is still treated like she’s untested by Cruz Airlines’ board of directors. But when an accident renders Peter unable to back her at a deposition in a pending case with a rival airline, Jackie reluctantly enlists the latest hire in Cruz’s legal department, Daniel Blanchflower (Goldstein), to step in for him.
Daniel’s quick knowledge of the case and composure under pressure immediately impress Jackie, even as her tough demeanor and impeccable style attract him. Despite a particularly restrictive corporate policy forbidding inter-office dating, not to mention Sydney’s almost-motherly vigilance, they soon fall into a passionate romance. Yet their work-life balance and relationship soon become complicated when Daniel tries to keep aspects of his life private, including a sister, Lizzy (Jodie Whittaker), who is in prison. After Jackie’s position as CEO is threatened by a competitor who obtains incriminating photos of the two of them, Jackie and Daniel are forced to decide what matters more: their relationship or their careers?
The unambiguous qualifications of Jackie as CEO echo both early roles Lopez had and where she is now in her professional life. In Steven Soderbergh’s “Out of Sight,” for example, her character Karen Sisco and George Clooney’s Jack Foley briefly maintain a charade in which she poses as a sales rep who is dismissed by a customer for being “a girl,” precisely because she is so demonstrably formidable. But even if Lopez was already a boss back then, her authority here feels more believable because of her age and poise, making the board of directors—and her patronizing father—seem out of touch and more than a little sexist, rather than suggesting she is overprivileged or underqualified.
Meanwhile, costume designer Caroline Duncan (who previously dressed Lopez on the underappreciated “Marry Me”) gives her an endless series of perfectly manicured looks that further amplify the actress’ strength and ageless sex appeal. (After watching her literally glow in front of longtime Wes Anderson cinematographer Robert Yeoman’s cameras, you can almost buy that Daniel would suffer an, uh, involuntary physiological reaction in his pants after shaking Jackie’s hand.) The relationship that subsequently develops between the two leads feels at once playful and mature, the natural result of two people carrying lots of baggage who have decided to shed it — and eventually, some of their better judgment — because of a spark neither can deny.
As Daniel, Goldstein is sexy but also substantive, and you believe that the two are attracted to each other’s minds and capabilities as much as their bodies. Notably, the film mines conflict less from typical will-they-or-won’t-they drama (though that remains part of it) than from the cultural divide between a Jersey-raised Latin American and a Brit more inclined to quietly “carry on” than open up. Unfortunately, genre machinery kicks in just as you’re eager to watch them explore the relationship with more complexity. But without giving the film a pass, that expectation comes more from the head, whereas the well-executed but inevitable public declaration of love at its climax speaks directly to the romantic-comedy tradition of tugging at heartstrings.
Parker recruits a deep bench for the film’s supporting cast, including Whitford, Whittaker, Mary Wiseman, Amy Sedaris, Tony Hale, Rick Hoffman, Will Sasso and Roger Bart. But Gilpin makes the biggest meal of her role as Sydney, Jackie’s willfully independent, self-appointed protector. It’s a film that balances its ensemble to keep things lively without digressing too often (or for too long) to explore a character whose fate isn’t pivotal to the narrative.
Ultimately, though it is more polished than pioneering, “Office Romance” uses the ages of Lopez and Goldstein to its advantage, leveraging their maturity to deepen a relationship that follows a pattern now deeply familiar to audiences. In a genre where differences between most stories come down to small details, the film is a reminder that even seemingly worn-out formulas can work when they’re well executed—and that a seasoned pilot at the helm can make the journey especially enjoyable.
