The supernaturally gorgeous Amanda Seyfried — whose enormous eyes and pout recall the animated goldfish from Disney’s Pinocchio — stars as Sophie, a lowly fact checker at the blue-chip magazine The New Yorker. Her fiance Victor (Gael Garcia Bernal) is a distracted, high-energy chef about to open his first Manhattan restaurant. The pair decide to take a pre-honeymoon to Verona, Italy, where Sophie hopes for romance, but Victor turns the getaway into a work trip. Abandoned by her husband-to-be, Sophie is romance-starved and open to exploitation. She discovers a subculture of Romeo and Juliet-inspired girls and women who tuck their heartfelt written messages into a kind of Wailing Wall for lovelorn ladies, believing Shakespeare’s tragic heroine Juliet will answer their distress. A cadre of multigenerational Italian women have made it their Santa’s helperish task to write responses to the legions of women, and Sophie temporarily joins their ranks. Plucking Juliet letters from the wall, Sophie finds a 50-year-old old letter tucked into a crevice and writes to its owner, a British grandmother who loved and lost a handsome Veronian years ago. Moved by Sophie’s response, Claire (Vanessa Redgrave) travels back to Italy with her handsome, contrary grandson Charlie (Christopher Egan) in tow, anxious to find her long-ago lover. Letters to Juliet is inoffensive and expected, a banal diversion with very little to recommend it beyond a refreshingly sweet G-rated approach to sex, some lovely scenery of the Tuscan countryside, two eye-candy leads, and Redgrave, whose heartfelt, nuanced performance is the one dose of reality and substance in this paper-thin plot.