Can a romantic comedy survive a decade of entropy and mixed critical reception?

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Released in 2005, A Lot Like Love tracks the evolving connection between two characters over seven years. While the film attempts to capture the spark of long-term romantic development, it faced harsh comparisons to genre classics, leaving critics divided on whether it achieved genuine sentiment or simply felt like a tired imitation.

Directed by Nigel Cole, the film follows Oliver Martin and Emily Friehl, whose relationship shifts from a spontaneous encounter on a flight to a series of reunions spanning seven years. The narrative is structured into chapters, each marking a pivotal moment in their lives as they navigate career ambitions, personal failures, and other relationships. Oliver, an aspiring internet entrepreneur, and Emily, a photographer, eventually recognize that their bond provides the fulfillment they both lack.

The film’s critical reception was notably polarized. While some reviewers appreciated its textured storytelling and the chemistry between leads Ashton Kutcher and Amanda Peet, others were far less forgiving. Critics frequently compared the movie to established romantic comedies like When Harry Met Sally, often suggesting that the film suffered by comparison. Some reviewers even invoked the Second Law of Thermodynamics to describe what they perceived as a decline in quality from earlier genre classics, labeling the production a flabby imitation.

Commercially, the project opened in late April 2005 across more than 2,500 locations in the United States. It debuted in fourth place at the domestic box office, ultimately securing a worldwide gross of approximately $42.9 million. Despite the mixed reviews—with some critics like Roger Ebert placing it on their most-hated lists and others finding it a pleasant, if modest, reminder of a bygone era of mid-level romantic comedies—the film remains a distinct artifact of its time, capturing a specific style of Hollywood storytelling that prioritized character-driven reunions over high-concept spectacle.

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