Excellent, Without a doubt!!

Absolutely Brilliant!

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

I'm a big fan of Zoe Kazan and have been intrigued by her rise to fame in recent years.Therefore I was interested to see this film in which she plays twins, one of whom takes on the others identity after a car crash.It's a good film, one that mixes comedy and drama well. It's a little over sweary perhaps, and not without its slower moments, but a stellar performance from Kazan more than keeps it afloat.A nice film.

In the vein of other movies listed like The Spectacular Now etc, this movie certainly came out as a very disappointing watch. The desperation of old Laurel does not justifies her character identity crisis. Actually it was barely a desperation, it just took her one hair cut to change to pretty? Why she didn't do it all along? The title of the Movie just dissociates the sad, disoriented streak of thoughts looming large over the movie, which is not even justifiable? The character of Laurel(the ugly sister) languishes weakly in random events (Read kisses]); even after caring for her dad for so long, she fails to react in a sensible manner after 1st funeral while she is actually portrayed as the sensitive one in the early Pretty vs Ugly contrast(Isn't she supposed to know he is too grieving for death of daughter to speak, it's not like she had seen him being a forthcoming guy), her awkwardness in the later part is consistent with her old self but way too less to make up for the earnest desperation shown in meeting the old boyfriend, making a new one.. The story line just moves around a disturbed 20 something woman who is so desperate for a guy almost at all points of time.

***MAY CONTAIN SPOILER*** Why would he feel cheated when the real Amanda never gave him the time of the day and had always been a bitch to him??? He was in-love since the day they met??? Really?? Not when Lorelle started to be nice to him and decided to not kick him out of the apartment? I can get Lorelle falling for him because Lorelle do not know anyone in the world and he's like the first guy she met out of town. Anyway, I think it's an interesting plot for a movie and I think they've successfully told the story. Everything seem plausible and only flaw I find is that of this Basel guy who they try to portray as sensitive guy but actually annoying and not cute.

The Pretty One is a pleasant indie "dramedy" cooked with the habitual ingredients from the genre: a simple screenplay, but not lacking of some deepness; funny characters who are too picturesque to exist in the real world; and a narrative sensibility which cunningly occupies the intersection between art-house cinema and the commercial one. That description might sound a bit cynical, but it doesn't darken my appreciation for the various pros of The Pretty One, which I liked pretty much despite some forced details from the screenplay and its kinda cloying manufacture. To start with, the performances from Zoe Kazan and Jake Johnson are very good. I always like those actors' work, even though they tend to play the same character over and over again (Kazan, adorable "Phoebe", and Johnson, adorable loser). But, as long as they keep bringing such good works in those roles, I will keep enjoying their performances. Kazan and Johnson have a perfect chemistry with each other, something which helps to cover some weak details from the screenplay. For example, the premise feels occasionally improbable, even though it's raised with enough logic in order to accept it for the sake of entertainment. After all, The Pretty One doesn't aspire to the raw realism from Hesher or Smashed (to put a pair of indie examples), but it occupies the idealized universe from films such as In Your Eyes and Juno, where the characters are sublimations of narrative archetypes, and the dialogs are impossibly eloquent and colorful. But the artifice works because the emotions feel real, and because of that, The Pretty One survives some not very credible coincidences, forced revelations and moments of a doubtful humor. Besides, in order to season the recipe a little bit, screenwriter Jeneé LaMarque (who was also the director) makes sporadic explorations to the meaning of identity, and its narrow (and sometimes contradictory) relationship with our public perception. Is it more important to know who we are, or who the people think we are? That's an interesting concept which brings a slight philosophical basis to the film. In conclusion, I recommend The Pretty One with confidence, because despite not being something great, it kept me very entertained, it made me think a bit and, for the first time in a long while, I was genuinely interested in the romantic aspect.