There is absolutely no doubt that if a list of the most enduring movie genres was prepared the romantic comedy would find a secure position near the top. The strange thing this type of film is frequently derided as sappy, predicable imbued with as much substance as a rice cake. T e fact is every single year without fail most movie studios have several such films on their release schedule with several more currently in production. Considering the fiduciary directives that motivate the studios the reason the rom com has become a venerable staple of filmmaking because of the simple fact; they generate more profits that it cost to make. With a blockbuster special effects flick e in the hundreds of millions the generated revenue has to approach the gross national product of a modestly sized country. With the rom com the costs are much less, perhaps somewhat elevated by a few well known names for the marquee but nothing in the ballpark of a summer action movie. The film under consideration here ‘He's Mine, Not Yours’, is an example of what a talented cast and crew can do with a fairly modest production cost and the desire to produce a reasonably solid piece of entertainment.
The film feature an all African American cast, to be expected since this movie was produced as a made for cable offering by BET but the entertainment potential is by no means limited to the black community. The secret to this aspect of the movie is easily explained. The script could have very well have been created without regard to a specific ethnic casting. The characters are sufficiently well drawn that this movie would be enjoyable with a White, Asian or Hispanic cast. While some elements of the story are firmly founded in the modern black community this proves the nuances for the film, not the foundation. It is like a well made culinary concoction featuring chicken as the main ingredient. It remains a poultry dish whether it is chicken a la king, southern fried chicken, stir fry or arroz con pollo. Some nuances reflect the African American social sensibilities but the heart of the film lies in its all pervading humanity. This movie would fit the bill for a date movie but one caveat guys, if the thought of infidelity has even flicked momentarily past your sub conscious mind your female better half will known making this fun flick into the prelude for a rather defensive time for you.

In her job as a bartender for a popular night spot Brooke (Gabrielle Dennis, has had an opportunity to watch sizeable number of relationships begin and more than a few come to a crashing end. On the night that opens this story an attractive young woman with an overly large floppy hat sits at Brooke’s bar. The hat is not a fashion affectation, it is necessary in order for its wearer, Mandy (Caryn Ward) to remain incognito. It turns out that Mandy is a professional temptress, seductively approaching men who are ostensibly in a monogamous relationship. The one thing the experience garnered from her profession endeavors has taught Mandy is men are slime that will chase any female in the vicinity especially if they are under the impression they can keep their dalliance from their woman. The first few scenes of the movie are very efficient in establishing the foundation of the premise as well as the central cast of characters. Mandy is initially shown getting ready for the bar by putting on a seductive shade of lipstick. In the bar as she orders a drink from Brook as she sends an envelope and a single red rose over to a couple sitting at a nearby table. The romantic evening is harshly disrupted when the young woman opens the envelope to see her boyfriend quite cozy with Mandy. On the photo is the inscription; ‘He Lied’. As a face is slapped and the couple parts Mandy leaves slipping her business card to Brooke. The next shot provides the other requisite element of the exposition. We meet a pair of off duty firemen Kent (Jason Weaver) and his best friend/co-worker Doug (Carl Payne). Kent has just asked Brooke to marry him but as William is very adamantly points out Kent’s track record has established him firmly in the ranks of players entirely unfamiliar of the concepts of fidelity or monogamy. Kent insists his love for Brooke has reformed him and he is ready to finally settle down. Once again the director, Roger Melvin, drives the point clearly home when a beautiful and eager woman approaches them. All it would take to get her to bed is about five minutes of light conversation but true to his reformed ways Kent declines remaining steadfast in his new way of life. Later, while making out Kent accidently let’s slip an incident involving a beautiful woman and her tassel malfunction much to the ire of Brooke. Now this is where this story establishes the primary motivation for the story. Kent has a reputation of a ladies’ man. Although he professes to Brook that his philandering ways are in the past after what she witnessed at work Brooke retains some serious reservations about the doubts about the strength of Kent’s revised stance of the importance of fidelity. She decides to hire Mandy to test Kent’s newly acquired resolution.

Admittedly it doesn’t even require a modicum of physic ability to see where this movie is headed. Mandy will test Kent and determine he is indeed true to his word. After such a long time proving her targets are unrepentant philanders Mandy see Kent as the one man she can trust and peruses him. this leads to the inevitable romantic comedy second act development of Brooke fighting to regain Kent’s affection so they can all move on to the mandatory third act; the happy ending. Like most examples of this genre the trick to working has little to do with originality that it does presentation. In this instance the film manages to be pleasant, appealing and suitably funny. The direction is stylistically straightforward without over reliance on the character archetypes mandatory for the genre. the result is a competently constructed date movie that will retain your interest.