Blair is the disputed choice: two responses find the performance excessive, particularly her dance after learning about orgasms, while another enjoys the comedy.
The exaggerated adolescent physicality is compared with Maggie Grace playing a younger character in Taken.
Blair’s defender enjoys the picnic kiss, screwball dynamic with Gellar and post-sex quiet-time exchange; another response likes some scenes but thinks she sometimes overplays them.
Sebastian’s 1956 Jaguar XK140 Roadster is admired despite a report that Witherspoon found it unstable to drive and concern about its safety.
Cecile’s quiet-time line became a recurring household joke.
The cocaine-cross reveal, the spoon and Gellar’s tearful reaction remain particularly effective.
The Upper East Side and Central Park West geography generally feels convincing, with the characters’ nearby homes making park walks plausible.
The soundtrack’s Every You Every Me, Praise You, Coffee and TV, Bedroom Dancing, Colorblind and You Could Make a Killing are praised.
Lovefool is singled out despite its absence from the soundtrack album, and Bittersweet Symphony is considered a defining song of the decade.
The soundtrack wins broad final agreement, with the car also favored; its durability is contrasted with other dated or overly corny soundtracks aimed at young women.
The homes, blue walls, Selma Blair’s character’s apartment and hardwood floors receive enthusiastic approval.
Gellar’s performance is belatedly praised as a possible aged-best entry, distinct from the diminished novelty of her casting.
Paying for Bittersweet Symphony is explicitly judged an excellent decision because it defines the ending and the movie.
The luxurious trundle bed and Cecile’s room receive belated praise.
