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>
The role of Harry (Mollie's accountant date) was originally meant as a cameo role for Amy Heckerling's friend and fellow director John Landis. But Landis turned it down as he didn't really like working on movies involving with kids, especially after what happened with him during the making of Twilight Zone: The Movie (1983). See more »
In every shot of Mikey in his high chair except the very last one (the dance sequence), the background dishes in the drainer with the towel tossed over the counter can be seen to be exactly the same. See more »
Mind if I borrow some of this?
[takes Mikey's bottle and pours the milk into his coffee cup]
Thank a lot, man.
Hey, you know, that's breast milk.
[spits out coffee]
[turns to Mikey]
Why didn't you tell me?
Hey, man, you're on your own.
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After Pete Townshend's "Let My Love Open the Door" finishes playing, the remainder of the end credits have absolutely no other music or audio playing during them. See more »
The concept of woman-with-child-meets-man-and-falls-in-love has been done to death in the movie industry. The only thing that can save a movie from being lost in the existing hash is a gimmick that makes it unique. Fortunately, "Look Who's Talking" gives a fresh perspective on an otherwise trite situation by demonstrating it from the baby's point of view. Even this could become annoying were it not for the fact that, rather than having a child actor flesh out the character, the clever, snappy dialogue is delivered by Bruce Willis in his most likeable role since "Moonlighting". Had they used a child's voice, lines such as "Let's get some apple juice down here!" would be merely cute; with Willis' smoky growl, they are hysterically funny.
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