mrfabulous1025 I like this film. I've watched it a number of times and it never disappoints. All the characters are very well played and cast. Chemistry is nice and the actors are very appealing. Every thing fits in a natural manner. Nothing is forced or contrived. The one thing it is not is "precious". While a horrible and pretentious movie like The Men Next Door tries to be a film about Gay people this one actually is. The fag hag gets her just desserts and a new guy discovers he likes boys better. There is no silly bar banter where a script writer forces his real life club talk into scenes. Will and Grace it is not. It gives a realistic portrayal of life in England and the backdrops make you want to go there. Give me more of movies of this quality and I will be very happy.

toonhut Don't believe all the negative reviews this film has here. Maybe they don't get British subtlety. Like one person wrote, at least you get a glimpse of a different culture. I don't know why people have a problem when there is a (non-offensive) cliché in gay films. Sheeesh.. get over it people! You wouldn't be so upset if this story was on straight couples, so why here? The film is funny, smart, and very close to real. The first 10 minutes is enough to get you into it. There are all shades of characters and you may know some of them in real life too. They are believable. Some good songs, some laugh out loud scenes, and overall engaging. You won't be sorry.

ekeby I've seen plenty worse gay movies, that's for sure. First of all, for American gays, this is a British production. I always find it more interesting to see gay life depicted in other cultures. Even if the movie is terrible, you can at least look at the different sets, locales, etc.The primary conceit of this movie--that a woman introduces her boyfriend to her gay friends and that makes him gay--is just sketched at. Essentially, we're observing her friends and their friends and their various respective lovers as they interact. Some of the characters are downright unlikeable, but how is that not true to life? At least among this bunch, some have interesting jobs, like the guy who produces a house/swap decorating show. And I liked the interaction with the aspiring actor/caterer and his family. When the actor/caterer's phone rings, his straight brother says, there it is, your agent. You got the lead in that snuff film. The mother looks up from her plate. What movie, she asks? It's funny.As with most Brit movies, there is class friction which may go over the heads of Americans who are not attuned to the differences between posh and non-posh accents. And there's the usual clichéd urban gay men problems, lust, jealousy, money, jobs, etc. They ARE clichés, but let's face it, they're clichés for a reason--the problems exist.Ultimately the movie fails, because, if it's primarily about a straight man becoming gay when exposed to gay life, that's the weakest part of the movie. Like I said, hardly sketched in. It's just an excuse to show gay life. I think the movie might have been better, in fact, if that flimsy framework had been abandoned. All in all, I found this an easy watch, and it held my interest, despite the clichés, despite some unlikeable characters. If you approach this with lowered expectations you might actually like it. Faint praise, I know. But I have to give it, because the movie is a lot better than the other review would have you think. (And at this writing, there's only one other review.)

moonspinner55 The British-made "Mr. Right" shows one thing clearly (if nothing else): Americans do not have the monopoly on terrible gay-themed dramas. A collection of gay Londoners work out their miserable love lives: there's the TV producer with Tiger Beat hair; the skinny, sulky actor (who carries a purse!); the rugby player who spends most of his time playing babysitter; the directionless kid who always looks confused, et al. The directors, the sibling team of David and Jacqui Morris (working from David's wincing, facetious script), seem to be treading in alien territory. The static scenes of coupling have no focus, no rhythm, while David's dialogue seems culled from various bitchy television programs. Gays have had a hard time in the cinema lately; if they're not bitter and crabby, they are disinterested or distracted. Anything, one assumes, to keep them out of each other's arms and out of each other's beds. One waits in vain for an honestly-extracted bit of emotion, a caring touch or a sweetly-observed glance. The Morris' are oblivious to such things. They keep their characters busy on their cell phones, busy at their jobs, busy bitching to their girlfriends. Gay men apparently no longer laugh--or love. * from ****