Romantic comedies Top End Wedding and Long Shot show some of the challenges of the genre

A case in point is the recent release Long Shot. It was released about the same time as Avengers: Endgame, which might be regarded as either a daring piece of counterprogramming or foolhardy act. The latter has been the case: it's grossed about $A20 million worldwide (on a budget of well over double that, about $A57 million). This isn't just unimpressive when compared with Endgame's billions: it isn't anywhere near enough even to recoup costs.

Is it just the timing? The film plays rather like a schlubby screenwriter's romantic and sexual fantasy come true. Seth Rogen plays a recently fired crusading journalist who encounters his former next-door neighbour and babysitter (a game Charlize Theron). She is now secretary of state and about to make a run for US president, so she hires him to write speeches for her and romance inevitably ensues. But his uncompromising idealism and her pragmatism are obstacles, and the actors give off little romantic spark.

An interesting aspect is how vague the film is politically, not wanting to alienate any potential audiences. It's hard to tell whether the oafish US president is meant to be Republican or Democrat: he was a TV star who wants to movie into movies (vaguely Trumpish) , but his secretary of state's ambitious environmental plans don't seem likely even to be mentioned in a modern Republican administration.

On the other hand, Theron's character tries to avoid the Rupert Murdochian media mogul played by Andy Serkis (made up to resemble Trump). Surely a Republican would be keen to court him?

There's also a superfluous sub-plot about Rogen's black best friend who comes out as both a Christian and a Republican, much to the right-on former journalist's horror. The idea of trying to cross the partisan divide and recognise differences isn't a bad one. But it, like the rest of the film, feels like its more interesting possibilities are left unexplored.

The other sort-of rom com just released is the Australian film Top End Wedding, which doesn't invite quite such scrutiny.

It's unlikely to go down as a cultural touchstone like, say, Muriel's Wedding or The Castle, but it's pleasant enough if not terribly deep or ambitious.

In this case the couple are already together and it's about the difficult path to the nuptials.

Indigenous Adelaide lawyer Lauren (Miranda Tapsell, who co-scripted) and her English boyfriend Ned (Gwilym Lee from Bohemian Rhapsody, a requisite foreign "element") decide impulsively to get married.

She wants to do it in Darwin with her family but on arrival they discover her mother Daffy has left her devastated father. They have to find Daffy pronto.

The film breaks no real new ground and has no truly memorable moments. But there's nothing wrong with a simply enjoyable film. There aren't enough of them as it is.