After a single, career-minded woman is left on her own to give birth to the child of a married man, she finds a new romantic chance in a cab driver. Meanwhile, the point-of-view of the newborn boy is narrated through voice-over.
Mollie is a single mum who's on the lookout for a reliable and normal boyfriend. Her son Mikey, (unbeknownst to her) seems to have a better idea of which of the men she dates would make a good father figure! If only she could understand him... Written by
Murray Chapman <firstname.lastname@example.org>
Written by James Sheppard (as J. Sheppard) and William H. Miller (as W.H. Miller)
Performed by Shep and The Limelites
Courtesy of Roulette Records, a Division of ABZ Music Corp. See more »
As any engineer will tell you, bumblebees are not aerodynamically sound, they should not be able to fly. But they do.
This film is a single-premise, hi-concept, logline: the smartest person in the room is the newborn, and he "talks" to the audience.
The reason why this is a classic (yes it is!) is the talent: Amy Heckerling, at her peak, when she was the "next big thing." Kirstie Alley, also at her peak, before she disappeared from theatrical releases and reappeared as a spokesperson for Weight Watchers Travolta at the peak of his "first career" (he had a second career 5 years later with Pulp Fiction, a second career that carried him into the next century, literally) And -- my fave -- Bruce Willis just before he exploded onto the big screen. If you do the "Hollywood math" (inside joke) you will conclude that this deal was cut and signed before the box office results of Die Hard were known. Die Hard of course sent him into the stratosphere and voice work would be secondary for him from this point on, EVEN THOUGH HE WAS GREAT AT IT. In fact one of my top films of all time, OVER THE HEDGE (2006) has Bruce in it.
Fun flick. Much better than it sounds. MUCH
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