From my perspective, the romantic comedy process has been epitomized by the work of Marc Lawrence. Sadly that's not a compliment. From writing "Miss Congeniality" to auteuring a trio of painfully stilted Hugh Grant pictures (most recently "Did You Hear About the Morgans"), Lawrence - among others, of course - has stamped mainstream date movies with formula so transparent and redundant it's a wonder anyone manages to tell a "Two Weeks Notice" from a "Music & Lyrics". Burstein, however, approaches "Distance" with ideas beyond the simple meeting of a studio's quota. Her film joins the ranks of "The Sweetest Thing" and "Little Black Book" as romcoms with more than a couple pretty faces before a camera, obligated to fall in (what they call) love just because they got top billing on a poster.Alright, so "Distance" isn't some barrier-busting masterwork. It hits emotional points expected from any of this ilk and leaves certain technicalities on the curb. Thing is, it charts its path with methods original enough to be distinguishable. First we have gender reversal. It is easily argued Garrett, coy and vulnerable, is the central relationship's "girl" where Erin, a brash jokester, is the "guy". Then, take into account the trials of living apart replacing the ever-tiresome trope of illusory infidelity. Toss in an Apatow-esque edge with troves of referential fan service for children of the '80s and yeah, "Distance" is indeed original enough.
