To me, this movie is perfection.

Although it has its amusing moments, in eneral the plot does not convince.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Looking here ...http://www.imdb.com/title/tt0098394/ratingswe can see that females 30-44 gave this movie a rating of 8.1 .... way over any other group. Not only acceptable but notable.I thought this movie was irritating, frustrating, slow, stereotypical ... I could go on. I did watch it all the way through though, so I had to give it over a 1 which I reserve for the unwatchable.I obviously missed something and I would like to know what it was.Two American expatriate sisters living in Britain live their different lives, one a model and one a doctor.The doctor looks down on the model until the doctor does something decidedly un-doctorly and humiliates herself and near ruins her life with this buffoon of a man.What I don't get beside my obvious distaste for all the characters is ... what is the cup half full side that I missed ... I just do not get it.Miss this one ... at least until there is a good answer to my review in the message section! ;-)

Strapless is written by one of British theater's finest playwrights, David Hare. Strapless stars Blair Brown and Bridget Fonda as American expatriates in London. Blair and Bridget play sisters who are completely opposite of each other. While Blair's character is stable and a doctor, Bridget is unstable and unpredictable. The story gets bizarre with a stranger who courts Blair's character. His role gets bizarre during the film and it is never really explained away to me. Without spoiling a surprise, I don't think this film really lifts itself up from obscurity. They could have at least shown more of London, England.

If a director wanted to make a movie using the popular conception that what men want is sex, all that would be needed would be an attractive actress and a little bit of a story line. But what if the director wants to turn the tables and make a movie out of the popular conception that what women want is romance? David Hare did and produced the gem Strapless. An ordinary women on vacation meets a handsome, cultivated man who turns out to be attentive, generous and is well versed in the fine art of the pursuit. He is wealthy, has titled friends, is loving, devoted and kind and is surrounded by an aura of mystery with just a hint of danger. In short, the average women realizes the answer to any woman's yearnings, the perfect romantic partner. After meticulously creating the fantasy, Hare shows us the outcome. Blair Brown projects a sense of wonderment that this could be happening to her while Bridget Fonda, early in her career, deftly provides the dose of reality needed to support the romanticism. Bruno Ganz is, in the words of his on-screen foster mother, that rare man that loves women. Carefully scripted and well acted throughout, Strapless is a keeper.

Bizarre is probably the best word to use when describing this film. The plot lazily, and arbitrarily, bounces back and forth between totally under-written characters and indeterminate settings (at one point I thought some scenes were taking place in Monte Carlo), with barely a nod to coherence. Blair Brown, always fascinating, doesn't have too much to work with here; her character is woefully undeveloped. The mysterious stranger is nothing more than a stalker, and no reason is given for her falling in love with him other than the luxury he can offer her. Bridget Fonda has nothing to do; the scenes in the hospital seem straight out of another movie (or an episode of St. Elsewhere). Despite the flim's almost dizzying lack of sense, I could not, at times, take my eyes away from it. This film is redolent of the sort of warm-shadowed, color-flecked rococo headiness (just look at the title sequence) that is often associated with the culture of the late eighties (watch Bonfire of the Vanities- dont turn up the volume, or pay attention to the characters, just look at the sets). Perhaps the incoherence of the film added to this mysterious gauziness. In any case, I still cant believe this came out of David Hare (despite the presence of Blair Brown). A playwright I usually admire, Hare can go off track, and this is a definite instance of that. There is even a gratuitous, non-sequitur joke about actors, done in a set that includes a poster for a Hare play. This sort of in-jokeyness is completely out of place in a film that sets itself up as a psychological mystery/romance. Also, Nick Bicat's score is distracting, often building into pointless crescendoes in the middle of talky scenes. This movie is . . . . well, lets just call it a curiosity.