Priyanka Chopra Jonas and Sam Heughan receive very relevant love advice from … Celine Dion!
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Sparkling romantic comedy written and directed by James C. Strouse, love again is the new North American version of the German film SMS for Dich, itself adaptation of the novel by Sofie Cramer.
But behind this mention in the text messages, which inevitably reminds You have a message, by Nora Ephron, with Tom Hanks and Meg Ryan, hides a drama treated with seriousness and respect. Because Mira Ray (Priyanka Chopra Jonas) has lost the man of her life, who died suddenly. She continues to speak to him through messages she sends to his phone. The number has been assigned to Rob Burns (Sam Heughan), who can’t help but read them and then wait for them. And, imperceptibly, he falls in love with Mira.
At the same time, Rob is a journalist and his boss sends him to interview Celine Dion. But, here, the man has a somewhat complicated love history – his fiancée “domed” him at the time of their marriage – and he doesn’t really know what to do with Mira. This is when our national Celine comes into play. After all, isn’t she the high priestess of love, not only because of her songs, but also because of her life?
Playing her true/false role with a lot of naturalness and second-degree humor – we obviously think of Julia Roberts in Love at first sight in Notting Hill –, our star is like a fish in water, speaking with emotion of René and his children, of love and romance and, of course, of his work, all totaling a good dozen minutes. James C. Strouse enamels his love again pleasant, very light finds that prevent the feature film from being weighed down by the dark past of the protagonists, the scene of blind date between Priyanka Chopra Jonas and Nick Jonas (who will never be an actor), her real-life husband, being a moment of thoughtful derision.
As you might expect, the ending is mushy and some twists and turns are a tad far-fetched (what music journalist won’t ask Celine Dion professional questions in an interview?), but the questions of Rob are believable and relevant, Mira’s grief is plausible, and this story, light as it is, hits the nail on the head.