I’m aware this is very much of its time and I’m also aware that people loved it in the early 1990s and hold up Nora Ephron’s film as a fine example of American rom-commery. For some reason I’ve never watched it until now, and it was OK, though it hasn’t aged particularly well. Tom Hanks just seems so green, as if the man-child of Big just became an architect with a mop-headed son and a dead wife overnight, and wasn’t Meg Ryan cute back then? (It’s sad the way that Hollywood sidelined her after You’ve Got Mail and Kate & Leopold. Ve vill not allow women over 40 to appear in our romantic films! Ve vill not allow women over 40 to appear in our romantic films!) Oh, it’s fine and warm and well-meaning, and I like the fact that the two leads are kept apart for so damn long (something I can’t imagine happening in a similar movie today). Ephron pulls that trick off stylishly. Sven Nykvist, perhaps an odd match for this kind of material, occasionally cuts loose with some cool cityscapes; the most arresting shots here draw on the iconic skylines of Chicago, Seattle and New York, though curiously we don’t get one of Baltimore, the film’s fourth location. (***)