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Simon Pegg is an original guy who brought a breath of fresh air to the somewhat stagnant British comedy scene, which polishes the edges of political correctness and is muzzled by the commercial interests of advertising sponsors. Pegg has become sought-after for his ability to use irony and irreverence toward "sacred" values and authorities. His style of humor works here too, I had a good time and laughed heartily at his escapades a few times. However, after some thought, I decided that this time he would not receive more than three strong stars from me. Pegg makes fun of the world of Hollywood celebrities, glamorous faces, pseudo-artists manufactured by PR agencies, and snobs who revolve around them. Lastly, he also mocks the media that feed off such gatherings. The American media scene is truly much tamer than the infamous British tabloids, which do not hold back in their pursuit of sensationalism. However, Pegg's targets are so easy and the subject had such potential that the result falls short. This could have been more biting, more attacking, and more ruthless. The romantic love story with Kirsten Dunst directed the film toward the safe waters of romantic comedy, which comforts instead of stinging. Overall impression: 65%. (21.01.2013)

I can imagine that the whole tabloid machine could have been hit with even more vigor, but Simon Pegg is such a comedic element that you basically have to buy whatever he is selling you. In fact, he ends most of the hackneyed dialogue that pushes forward the relatively bland plot with a classically "British" sarcastic addition, for which it's impossible not to love him. You also can't help but love it when Megan Fox walks through the swimming pool and Kirsten Dunst pours several bottles of wine down her throat, and I then secretly anticipate the ending, from which the characters eventually emerge with incredible grace. I haven’t seen a romance that makes you both so angry and entertained for a long time. I’m thankful for it. (13.01.2009)

A classic romance, but from a boy’s, immature viewpoint and a British perspective. The cameos are great and welcome, the supporting roles are cast perfectly, Kirsten incredibly cute (and like in Eternal Sunshine, she looks best in a tipsy pose) and evidently everybody is having a great time and making the most of it. Of course, if everything had been exactly the same and the main role were played by somebody other than Simon Pegg, it would have collapsed quicker than a house of cards. But it’s played by him. And those sort of “boy from next door, one of us" roles suit him better than anybody else since the days of the Britcom Spaced. (19.11.2008)

After the Spider-Man trilogy, Kirsten Dunst definitely made the jump to a blockbuster actress, but unfortunately, that didn't help her much in the end. True, she was in a better starting position to take up a fascination with Marie Antoinette because after Mary Jane no one really questioned who Kirsten was, but that's all that happened. Kirsten was seen as the most compelling representation of smart teen movie protagonists with irresistible charm. How to Lose Friends & Alienate People was supposed to show where Kirsten's career would go next. But as with Megan Fox, only the whole thing betrays the (intention of) the cast before their new stardom, and that's not a good thing. During the period from 1999 to 2001, the Alison Olsen character would have perfectly suited Kirsten, but times have changed. So, for the first time, I experienced the runtime of fewer than two hours with this metamorphosis of piled-on awkwardness with an overwhelming aftertaste. The tastelessness that resonates throughout the film is really not something you see all that often. Each idea is like a punishment for wasting film time. It is only logical that this is where La Dolce Vita found its tribute... (25.06.2010)

The comedy of the year, mainly thanks to the (no exaggeration) brilliant Simon Pegg and the role of the boss enjoyed by Jeff Bridges. If the film were purely American, nothing groundbreaking would have happened. But this way - thanks to the British "admixture", which is evident from beginning to end - a novel and hellishly entertaining film was created. Even the clichés doesn't bother me. Four and a bit stars. (21.05.2009)