7. Love Actually
Okay, I am the first to admit that Love Actually has its stupid, emotionally schmaltzy moment but that is usually the case with most anthology films, in particular the Hugh Grant storyline. But, this film deals with love in a different way while supporting my argument that part of love is consciously deciding not to run away from it. The film does not necessarily follow the dreaded structure especially after films like Valentines Day or any other Garry Marshall holiday ensemble. The ending of the Keira Knightley storyline stands out in particular. Here, it deals with the uncomfortable nature of having a crush on your best friends new wife. The resolution is both moving and avoids any dues ex machina. Keira Knightley does not leave her new husband for a crush but realistically acknowledges it and accepts it allowing the character with the crush to move on knowing that he let his feelings known after bottling it up for years. That is a smart, mature way of handling that situation and a viable one as well. The same goes for the Alan Rickman storyline in which he battles whether or not to commit infidelity. The end is him making the decision to stay with his wife. He follows the same problem as the protagonist of Moonstruck and the resolution was neither stupid nor problematic. The film also finds romance in different places whether it was the bond between two best friends or sibling relationship.