In this critical piece, Philip Kerr argues that in American cinema there is an underlying sense of embarrassment or discomfort with the idea of love, which leads to the inclusion of humor in films that deal directly with love. Kerr asserts that it is for this reason that the majority of romance films in American cinema in recent years have been romantic comedies. Kerr cites Annie Hall (1977), When Harry Met Sally (1989), Sleepless in Seattle (1993), While You Were Sleeping (1995), As Good as it Gets (1997), and What Women Want (2000) among examples of these romantic comedies. He argues that European cinema is not faced with such restrictions and inhibitions and therefore explores love in much more serious tones and treats it with greater respect. Kerr takes this argument one step further to assert, rather radically, that “outside New York and Los Angeles, Americans don’t feel comfortable with the English language… which is the polite way of saying that outside the big cities, most Americans are plain inarticulate.” Kerr does not make it clear how he arrives at such a conclusion based on his earlier allegation that Americans are uncomfortable addressing love and romance directly. He does not provide the reader with definitions of what he means by inarticulate, so it is hard to determine exactly what Kerr is arguing. There is a definite negative undertone to his critique of American cinema in contrast with European cinema, but he does not provide any reason as to why Americans and Europeans might address love differently, nor does he introduce any ways to remedy the situation. The problem with Kerr’s argument is that, while he shows an association between the proliferation of romantic comedies and the sense of discomfort with love in American society, he does not provide enough evidence to prove a causal relationship between the two concepts. This article has minimal relevance to Woody Allen’s Annie Hall, though it does put it in the context of the modern romantic comedy and set it in a group of potential comparable and notable films. It is important to look at articles such as this one that examine Annie Hall in a much larger context so as not to get caught up only in articles that look specifically at the minute details and underpinnings of the specific film itself. It is easy to find oneself looking only at character analyses and symbolism within the cinematography of a particular film, which can sometimes cause one to lose sight of the film in the larger context of its role in American cinema and the connotations that its place in film history bring to the film.