As we approach Valentine’s Day (yes, it’s just a few days away) I think it’s only fitting that the topic of romance come into play in anticipation of the day meant to celebrate all things feelings. I’m not sure about you, but I have actually never celebrated Valentine’s Day with a loved one not related to me. Instead I spend the day (or week) loading up on conversational hearts, Reese Peanut Butter cups, and a collection of melodramas so depressing I become skeptical that love can actually end in anything but death. Regardless of my tendency to eat my feelings while crying over the tragic love found in Douglas Sirk films, I do enjoy happy love stories and tend to pair the sadder movies with some of my must-have romances. In honor of the big V-Day, I’d like to share my favorite 14 romantic scenes and also open it up the floor to hear your suggestions as well. Here are my concluding seven romantic scenes to last week’s first half of this list. Bring out the smelling salts; you might need them after all these swoons.

Not only has director Paul Feig’s latest film Bridesmaids been both a critical and financial success, it has also started a lot of talk about women’s place in the film world and how their potential to bring in big box office dollars hasn’t ever been fully exploited. Now that Bridesmaids has pulled in $189 million worldwide, will it mark the beginning of a huge trend where movies aimed at women are given the chance to be released with big budgets and huge marketing campaigns on par with the latest things-blow-up-real-loud movies? Only if Hollywood plays it right and chooses the perfect projects to put out as Bridesmaids follow-ups. And right now they’re playing the situation exactly the same way they always do; by taking a new thing and trying to shoe horn it into something they already know. What does that mean in concrete terms? It means that they are looking for a new film to aim at women, so instead of looking for original scripts that might appeal to women they’re trying to rekindle success from the past. It means they’re going to make a new Bridget Jones movie. And they’re even trying to get Paul Feig to direct it. Do you see the logic here? Bridget Jones’ Diary made a lot of money with women, Paul Feig made a lot of money with women, put them together and you get double money! Do you ever get the feeling that you could be a Hollywood executive, no problem? I [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

This week, Fat Guy Kevin Carr strikes out against… well, pretty much everyone reviewing movies by taking issue with The Social Network. Sue him if you don’t agree, or friend him at Facebook.com/FatGuysattheMovies. But while he cringes under the weight of Jesse Eisenberg’s smug Michael Cera impression, he also rejoices in October being officially here and all the horror movies the month of Halloween promises to bring. Up first, he cowers in a dark theater to the likes of Let Me In and Case 39.

If you or someone you know works in child services, then you already know how hellish it can be. It’s emotionally draining, mentally challenging, and the people that do the work are often balancing a dozen eggs on a spoon while traveling across a high wire with no net. Only, those eggs have to grow up; you can’t just recall them. And that’s without having to deal with a potentially supernatural killer with shark’s eyes and barbie dolls. Case 39 stars Renee Zellweger as a case worker who saves a little girl from what looks like an abusive mother and father, but soon they’re love of locking her out of their bedroom at night and threatening to send her to hell seem pretty level-headed. The trailer just hit online, and it’s got just a touch of The Ring to go with its unnerving goodness. Stop when you feel resistance:

There’s more to explore in the world of love-sick Bridget Jones according to the studio. The question is whether or not audiences will care about another diary entry seven years after the last.

Neil has returned from Park City, but he’s decompressing from his fruitful Sundance trip. So Kristin Dreyer Kramer from NightsAndWeekends.com braved the Ohio snow and ice to make a trip to the Magical Studio in the Sky to join in this week’s fun.

Continuing his quest to become the Cary Grant of his time, George Clooney directs and stars in a quaint throwback to the screwball comedies of the golden age of cinema, the aptly named Leatherheads.

Leatherheads chronicles the early days of the NFL. Most importantly, it takes place in the midst of prohibition. But you don’t need to worry about prohibition now. Even if it’s illegal for the characters in the movie to drink, that doesn’t mean that you can’t.

Set at the dawn of pro football in the 1920s, Leatherheads is a spirited affair that isn’t quite a football movie, but more of a romantic comedy that uses football as a backdrop. But with a solid cast and a little flair, it just might be worth a ticket.

Faces like Keira Knightley, Javier Bardem, Seth Rogen and Naomi Watts show up in Hitchcockian scenes for VF’s “Hollywood Portfolio” Issue.

George Clooney has had some luck with cheeky romantic comedies — but can it work when it is set against the backdrop of pro football in the 1920s?

Jerry Seinfeld is known for his comedic presence and, of course, that show about nothing. He hasn’t done much to entertain an audience since the afore mentioned show about nothing, but set his hopes high with his newest endeavor.