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Love & Other Drugs

Love & Other Drugs

Drama · Comedy · Romance · 2010

Maggie is an alluring free spirit who won't let anyone – or anything – tie her down. But she meets her match in Jamie, whose relentless and nearly infallible charm serves him well with the ladies and the cutthroat world of pharmaceutical sales. Maggie and Jamie's evolving relationship takes them both by surprise, as they find themselves under the influence of the ultimate drug: love.

Movie details

Love & Other Drugs

“Addicted to one-night stands or dependent on one another?”

2010 Drama · Comedy · Romance 1h 52m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Maggie is an alluring free spirit who won't let anyone – or anything – tie her down. But she meets her match in Jamie, whose relentless and nearly infallible charm serves him well with the ladies and the cutthroat world of pharmaceutical sales. Maggie and Jamie's evolving relationship takes them both by surprise, as they find themselves under the influence of the ultimate drug: love.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Love & Other Drugs?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Edward Zwick

Written by

Charles Randolph · Edward Zwick · Marshall Herskovitz

Jake Gyllenhaal

Jake Gyllenhaal

Jamie Randall

Anne Hathaway

Anne Hathaway

Maggie Murdock

Oliver Platt

Oliver Platt

Bruce Winston

Hank Azaria

Hank Azaria

Dr. Stan Knight

Josh Gad

Josh Gad

Josh Randall

Gabriel Macht

Gabriel Macht

Trey Hannigan

Judy Greer

Judy Greer

Cindy

Court is in session

Put Love & Other Drugs on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.