Singles
Cameron Crowe, dude… Cameron Crowe.
Yes, the man has a tiny filmography, but at this point I’m convinced it’s because he pours so much heart into every single one that he physically can’t make more. From Say Anything to Almost Famous to Singles, he’s fluent in the language of the silver screen.
First off: the cinematography and exposition are brilliant. The medium shots (very early Sex and the City coded), the narration that somehow avoids breaking the “show don’t tell” rule because it genuinely does both — it all works.
And the character development? Insane.
Campbell Scott goes from “yeah, I cheated and whatever” to “I will literally wait months for the woman I love to come back,” and the transition is seamless. Beautifully written, beautifully acted.
Every Kyra Sedgwick scene is gold. The weird faux–green card dynamic, her emotional arc, the realism of it all — I stayed for Segwick and Scott. That was the relationship I cared about most, and it delivered.
Bridget Fonda and Matt Dillon? They’re the perfect portrait of relationships that just aren’t meant to be. Sometimes the strongest part of a connection is the chase, and that’s exactly why both people eventually need to let go. I wasn’t heartbroken it didn’t work — it made sense.
But the twist when we suddenly slip into Dillon’s POV? PURE GOLD.
Calling this a “feel-good movie” isn’t right — it’s more like the optimistic side of realistic. It makes any logical person wonder whether they should keep chasing or just accept the “what if” and move on.
It also has shockingly sharp commentary on hookup/situationship culture — especially for the early ’90s. And the double meaning of Singles referring to the apartment building? Chef’s kiss.
Great movie. Great vibes. Even the soundtrack hits (no surprise considering Crowe).
Not to even mention the Tim Burton cameo and that video dating essay: that scene was impeccable in the most hilarious way.