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You've Got Mail

You've Got Mail

Comedy · Romance · 1998

Book superstore magnate Joe Fox and independent book shop owner Kathleen Kelly fall in love in the anonymity of the Internet—both blissfully unaware that he's trying to put her out of business.

Movie details

You've Got Mail

“Someone you pass on the street may already be the love of your life.”

1998 Comedy · Romance 1h 59m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Book superstore magnate Joe Fox and independent book shop owner Kathleen Kelly fall in love in the anonymity of the Internet—both blissfully unaware that he's trying to put her out of business.

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 You've Got Mail?

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.

Confessions of a Shopaholic

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Relationship Goals

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Serendipity

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Comedy · 2001

Although strangers Sara and Jonathan are both already in relationships, they realize they have genuine chemistry after a chance encounter – but part company soon after. Years later, they each yearn to reunite, despite being destined for the altar. But to give true love a chance, they have to find one another again.

Where it lives

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Names above the title

The people responsible.

Directed by

Nora Ephron

Written by

Nora Ephron · Delia Ephron

Meg Ryan

Meg Ryan

Kathleen Kelly

Tom Hanks

Tom Hanks

Joe Fox

Greg Kinnear

Greg Kinnear

Frank Navasky

Parker Posey

Parker Posey

Patricia Eden

Heather Burns

Heather Burns

Christina Plutzker

Dave Chappelle

Dave Chappelle

Kevin Jackson

Jean Stapleton

Jean Stapleton

Birdie Conrad

Court is in session

Put You've Got Mail 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.