In Marc Lawrence's Music & Lyrics (2007), a wryly funny rom-com with Hugh Grant as a pop has-been and Drew Barrymore as a literary never-was who collaborate on a hit song for a Shakira-like phenom, they write a song called "Love Autopsy." (It was actually written by Fountain of Wayne's Adam Schlesinger, and shoulda been a hit.)
The reports of the death of romantic comedy are greatly exaggerated. Of course they don't make 'em like they used to. Different stars, different times, different romantic conflicts. In their love autopsy, Dowd and unindicted co-conspirator Sam Wasson complain that today's stars are not Cary Grant and Audrey Hepburn. Much as I love Grant and Hepburn in Charade (and Grant and Katharine Hepburn in Bringing Up Baby), it's a fool's game to measure movies of today by the yardstick of the 1960s and 1930s.
I wouldn't be surprised if the Maureen Dowds and Sam Wassons of 2050 thought that 1990-2010 represented a golden age of romantic comedy. From Tom Hanks and Meg Ryan (You've Got Mail) to Adam Sandler and Drew Barrymore (The Wedding Singer) to Vivica A. Fox and Morris Chestnut (Two Can Play that Game), there is a wealth of distinctive rom-com talents. The filmographies of John Cusack and Drew Barrymore are rich with defining romantic comedies. Cusack: The Sure Thing, Say Anything, Grosse Pointe Blank, High Fidelity. Barrymore: Wedding Singer, Ever After, Never Been Kissed, Fever Pitch, Music & Lyrics.