Lucy Kelson is a lawyer who cares about things that matter. George Wade is a rich man who cares about himself. That is the engine of Two Weeks Notice, and it runs for 101 minutes. The movie wants to be a romantic comedy about two people who don’t agree meeting each other. It mostly gets there, but the middle sags under its own weight.
Trailer, via From a Lost Deck.
Lucy and George
Lucy is a dedicated environmental lawyer in New York City. She specializes in historic preservation and pro bono cases. George is a real estate developer and a playboy who has lived a life of luxury. He is also indecisive and weak-willed, a man who needs constant advice on everything from legal matters to what to wear to an event.
Their paths cross when Lucy tries to stop the destruction of the Coney Island community center she grew up with. George hires her to replace his old Chief Counsel, ignoring that their views on real estate development could not be more opposed. Lucy takes the job because the benefits include discretionary funding for causes she supports, and George promises to protect the community center.
She soon realizes what George really needs is someone to guide him through every decision. She becomes his indispensable assistant, answering his calls at all hours for the next few years. The setup is simple and effective. The execution is less so.
The Two Weeks
Lucy finally gives George two weeks’ notice after he disrupts her at a friend’s wedding with another “emergency.” She starts looking for work at other firms, but George has called ahead to ask them not to hire her, so he can keep her around. Eventually, he admits defeat and asks her to help find a replacement. She agrees, unaware of how close and interdependent they have become.
During this period, Lucy’s boyfriend Ansel breaks up with her over the phone while she is on George’s private yacht. George comforts her, and in that moment, she gets drunk, brags about how good she is at sex, and kisses George before passing out. When she wakes up the next morning, she has forgotten what happened.
That scene is the emotional core of the movie. It works because the chemistry between Sandra Bullock and Hugh Grant is real. Bullock plays Lucy as exasperated, devoted, and exhausted. Grant plays George as spoiled, charming, and genuinely lonely. Their dynamic is the reason the film holds together.
The Supporting Cast
The supporting cast fills out the world around Lucy and George without stealing focus. Dana Ivey plays Ruth Kelson, Lucy’s mother, and Robert Klein plays Larry Kelson, Lucy’s father. Alicia Witt plays June Carter, the Harvard graduate Lucy picks as her replacement. Heather Burns plays Meryl Brooks, and David Haig plays Howard Wade, George’s greedy brother.
Jonathan Dokuchitz plays Tom, Veanne Cox plays Melanie Corman, and Janine LaManna plays Elaine Cominsky. Sharon Wilkins plays Polly St. Clair, and Jason Antoon plays Norman. Mike Piazza, Donald Trump, and Norah Jones appear as themselves in cameo roles.
None of these characters get enough screen time to matter. They exist to populate the office and the social circle, but the film never builds them into anything more than names on a page. That is a missed opportunity.
What Works
The film is at its best when it lets Bullock and Grant play off each other. Their scenes together crackle with tension and affection. Lucy’s frustration is genuine, and George’s oblivious charm is amusing. The setup of a strong-willed lawyer working for a spoiled rich man is a classic comedy pairing, and the movie commits to it fully.
The tagline sums it up: “Over. Done. Finished. A comedy about love at last glance.” That is the promise the film delivers in flashes. The problem is that those flashes are separated by stretches of filler.
What Doesn’t Work
The middle section drags. Once Lucy gives notice, the plot stalls. She looks for work, George tries to keep her, and Lucy has second thoughts. None of this moves the story forward in a satisfying way. The film spends too much time circling the same ideas without landing anywhere new.
The comedy leans heavily on physical humor and verbal jabs. Bullock and Grant deliver both with skill, but the jokes repeat. The film’s sense of humor is warm and gentle, but it rarely surprises. It is pleasant, not memorable.
The romance is sweet, but it is also safe. There is no real risk in the relationship, no stakes beyond the two characters wanting to be together. The movie ends happily, and that is fine, but it does not earn the ending through any real drama.
The Verdict
Two Weeks Notice is a solid, if slight, romantic comedy. It has a great premise, a strong lead pair, and a few excellent scenes. It also has a slow middle and a thin supporting cast. The film is best enjoyed for what it is: a light, enjoyable date movie with a heart.
It is not a great film. It is not even a great romantic comedy. But it is a good one, and that is enough for a night in with a bowl of popcorn.
The movie is now available to stream on multiple platforms, and it remains a staple of late-night cable television. It has aged gracefully, though some of its jokes about cell phones and pagers feel dated today. That is a small complaint.
The film grossed $199 million worldwide. That is a healthy number, and it shows the movie connected with audiences even if critics were mixed. The movie’s success is a reminder that box office and critical reception often move in different directions.
| Element | Strength | Weakness |
|---|---|---|
| Lead pairing | Bullock and Grant are excellent together | Middle section drags |
| Premise | Strong contrast between Lucy and George | Thin supporting cast |
| Comedy | Warm, gentle, well-delivered | Repeats itself |
| Romance | Sweet and sincere | Lacks real risk |
The film is a product of its era, a straightforward romantic comedy made to please audiences without taking big risks. It succeeds at that goal. It is not a film that demands a second viewing, but it is one that rewards a first.
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