Generally favorable reviews - based on 40 Critics What's this?

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Universal acclaim- based on 78 Ratings

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  • Starring: , , ,
  • Summary: Calvin is a young novelist who achieved phenomenal success early in his career but is now struggling with his writing – as well as his romantic life. Finally, he makes a breakthrough and creates a character named Ruby who inspires him. When Calvin finds Ruby, in the flesh, sitting on his couch about a week later, he is completely flabbergasted that his words have turned into a living, breathing person. (Fox Searchlight) Expand
Score distribution:
  1. Positive: 28 out of 40
  2. Negative: 1 out of 40
  1. Reviewed by: Katie Walsh
    Jul 23, 2012
    Ruby Sparks hits that sweet emotional spot much in the same way "Eternal Sunshine of the Spotless Mind" does. While you are at once charmed by the whimsy and romance, there's still a gut punch of emotional rawness just waiting to be delivered.
  2. Reviewed by: James Berardinelli
    Jul 24, 2012
    Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.
  3. Reviewed by: James Mottram
    Oct 1, 2012
    Smart, literate and romantic, it's this year's (500) Days Of Summer, but with a few more shadows. Like Calvin, you'll find it hard to resist Ms Sparks.
  4. Reviewed by: Mick LaSalle
    Jul 25, 2012
    A movie about the power of the imagination really becomes a movie about a certain element of surrender - about the release of power - that is practically a requirement for loving somebody.
  5. Reviewed by: Betsy Sharkey
    Jul 25, 2012
    There is a great deal of playfulness between the couple that will touch the romantic in most.
  6. Reviewed by: Rene Rodriguez
    Aug 9, 2012
    The best stuff comes early in Ruby Sparks, which was written by Kazan (granddaughter of Elia) and directed by the husband and wife team of Jonathan Dayton and Valerie Faris (Little Miss Sunshine).
  7. Reviewed by: Rex Reed
    Jul 24, 2012
    The script is breezy, but neither of the two leads have the heft or charm to carry an entire feature-length film - separately or together.

See all 40 Critic Reviews

Score distribution:
  1. Positive: 24 out of 24
  2. Mixed: 0 out of 24
  3. Negative: 0 out of 24
  1. Aug 10, 2012
    Likely won't receive Oscar attention, but this film deserves it. Kazan's script tears apart the unrealistic male fantasy of the manic pixie dream girl by bringing the cliche to life in an offbeat, yet dark, comedy with interesting messages about the nature of adult relationships. There may not be a better script in all of 2012. Expand
  2. Sep 9, 2012
    I'll show you bona fide loving. 106 minutes of love, learning, and magic. Love story that will touch the soul and stimulate the mind. Love is real and sometimes things don't need an explanation, rhyme, or reason. Highs and lows, dark times and elation. This movie will take you through the true roller coaster of life and love. Expand
  3. Oct 23, 2012
    This film is pure concentrated wonderful. What makes Ruby Sparks a great movie and Seven Psychopaths a good movie is that while both deal with the same premise, Ruby Sparks has one primary idea and runs with it to its full potential, where Seven Psychopaths has too many ideas and doesn't always know what to do with them. Expand
  4. Sep 17, 2012
    This movie blew my mind. As I was watching I realized I was totally falling in love with this film. Smart, funny, challenging, even emotionally entertaining. All the while not realizing the subtle enormity of the structure perfectly laid behind scenes.
    When I realized this had been written by a woman, the same one listed as lead actress and executive producer, Zoe Kazan, the pieces of the puzzle slammed together like a tornado.
    This is what us men do to women, and how they experience it. The madness. The impossibility. The magic of it all. The devastation of not being able to hold it together. But, above all, how men make it unreal for women to simply be the already magical creatures we are drawn to to begin with.
    From dreaming the girl. Making her into the dream. Acknowledging the dream and wishing it to be different. To rejecting the new dream once it's changed just for our benefit...
    Word to the wise. Come to terms with yourself and let the girl be. It's easier getting to the happy ending that way... And if all else fails, go watch Ruby Sparks. It won't disappoint you, it might even leave a dent somewhere there, and above all, it's definitely cheaper than the dinner you were about to buy for that girl you don't like that much any way.
    Oh! Before I forget. To all those men out there reading this, saying, "Hey! women do the same to us!" My response to that is: "Why don't you go out there and make a movie like Zoe did and then we'll give you credit for your witty repartee. Ok?"
  5. Oct 26, 2012
    This is a weird movie. It challenges perceptions and it really leaves you wondering if its all is really happening, and as it turns out, the movie doesn't even handle you the answers. Part of it being so great though, aside from the great acting, is its message. Everyone at some point has dreamed and conceived their perfect couple, in this case the perfect girlfriend, but the thing is, that their really isn't. There is no such thing as a perfect human being. The perfect human being is a creation of the imagination, a depended of our mind, one that because of that doesn't really love you. That is this movie in a nutshell, but it is how it plays with that concept that ultimately as weird as it undoubtedly is, manages to bizarrely stick in your mind for a long while. That at least, is what the movie left on me. Expand
  6. Jun 15, 2014
    Ruby Sparks is a fine concept comedy that caught my attention and kept me entertained. The film is quite derivative and not quite as deep as it thinks it is, but it's still a fun time for sure. Expand
  7. Sep 21, 2012
    This review contains spoilers, click expand to view. Meant as a pointed rebuke against the putative quintessence of women in contemporary film(both sides of the divide), the screenwriter, a female one, as a sort of excerpt from a corrective manifesto, says that "quirky, messy women aren't real," in which she uses Harry, the novelist's brother, as her voice, in a scene where he reads Calvin's manuscript about such a non-woman("You wrote a girl," he adds.), that addresses the trend of infantilizing women. Ruby is just one more waif, another suppositious female asservated from a patriarchal fantasy. Harry tells him, "You don't know jacks*it about women." With this observation, Harry encapsulates the bane of the genre, the romantic comedy, as a whole. A film such as Life as We Know It, a rom-com about godparents who are suddenly bequeathed their mutual friends' baby after a fatal car crash, makes you want to scream along with Mila Kunis, when she vociferates loudly, "Shut up, Katherine Heigl, you stupid liar!" in Friends with Benefits. Heigl's character acts like a child. Womanhood seems to have escaped her. Smiling wildly, despite the gravity of the moment, Holly could be thirteen when the lawyer reads the conditions of the will. On the indie front, Zooey Deschanel, known for her hyper-adorability, which can be sometimes ingratiating, sometimes affected, starred, appropriately enough, in both All the Real Girls, and Flakes. In Ruby Sparks, Harry advises Calvin to write about Lila, the last woman he dated. Calvin, however, is more savvy than he lets on; he doesn't need a lecture; he knows "women are different up close," and that they can be "mean as f*ck," but the former "voice of his generation" shies away from dealing with his ex, choosing instead to write about a servile and uncomplicated girl, the perfect type for a "hey, we're falling in love" montage. Quite knowingly, the screenwriter employs "Ca plane pour moi" to score the genre's requisite compendium of blissed-out moments of mutual affinity(the courting ritual abridged by quick cuts) shared between the young lovers as a means to foreground the latent artifice that belies the romance. Recorded by Plastic Bertrand, the name "Plastic" adeptly communicates the idea of a fake relationship. At a party, Calvin bumps into Lila, who as it turns out, is also a writer, a soon-to-be-published one, which may account for their break-up, since the viewer can make the reasonable presumption that the female novelist was thriving in her craft, while the once-celebrated author found himself being surpassed by his protege, a simultaneity worsened by his miring in a bout of protracted writer's block. "It's weird having two writers," Frank tells his older brother, concerning their parents in The Squid and the Whale, a concept that obviously weirded out Calvin, as well, not wanting to be washed-up like Bernard Berkman, an alpha male, who has a hard time handling his wife's upcoming novel being excerpted in The New Yorker. Both men are narcissistic bastards. "Yeah, well, dad influenced her. She never wrote before she met him," responds Walt, and likewise, Calvin, no doubt, introduced Lila to his craft, but at some juncture, it became a competition, as demonstrated in the scene where Bernard hits his wife, hard, on the shoulder with a ball swung intended to maim, in a contentious game of tennis. Implying as much, the rivalry that exists among writers, Lila says, "Of course not, you're a genius." Good shot. A parting shot. Not surprisingly, the genius makes Ruby a painter(a woman whose interpretation of Calvin would differ from Lila's jaded eye), and when the manuscript is finished, or rather, the finished product, Ruby, materializes in the kitchen, eating a bowl of Crisp-ex, he locks the novel away in his desk. This is where Ruby Sparks goes Charlie Kaufman-lite. As any published writer knows, once a book goes to market, it belongs to the public. But here, it's not the text that's held up for interpretation, it's a person, a character unknowingly estranged from her invented realm where she was fictitious. In a sense, people are reading Ruby, and each person perceives her differently, thereby changing the original meaning of the girl in ways that the author never intended. Ruby is made real through interpolation. Literally, the girl leaps off the page and takes on a life of her own, emphasis on "her own". She's leaving him. Out of desperation, the author rewrites her, turning the increasingly self-perpetuating girl into a codependent. In one scene, Ruby stops walking when Calvin lets go of her hand to answer his cell, stranding the girl on the other side of a busy intersection. She can't move forward without Calvin's assistance, since the writer retracted her life into a story, a plot. His hand is a pencil. The plot stops. He writes her steps. In Stranger than Fiction, the professor tells Harold to do nothing. Like Karen Eiffel, he controls her fate. Expand

See all 24 User Reviews


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