Jane is a night club singer, out of work. Robin is a quirky real estate agent looking for a ride-share to accompany her to California. Her advertisement is answered by Jane, who at first ... See full summary »
An English Professor tries to deal with his wife leaving him, the arrival of his editor who has been waiting for his book for seven years, and the various problems that his friends and associates involve him in.
Jane is a night club singer, out of work. Robin is a quirky real estate agent looking for a ride-share to accompany her to California. Her advertisement is answered by Jane, who at first was uncertain about her. A stop in Pittsburgh picks up a third, Holly, escaping a violent and drug-dealing partner. Girls on the road, reaching understanding, respect, and care for each other. But this trio is different - Jane a lesbian, Robin suffering with AIDS, Holly running from her past, seeking one-night stands and a good man. Written by
Bruce Cameron <email@example.com>
When Jane & Robin first hit the road, (just after Robin appears saying "good morning"), the World Trade Center towers are briefly seen in the background as they are driving. See more »
When Robin is trying to inform Holly that her boyfriend is dead she writes "MORTE" on the window and tells it is French for dead. In French, "morte" means a woman is dead and "mort" is used when a man has died. See more »
Did I hurt him?
What do you mean did you hurt him, you hit him with a bat!
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Count the chick-flick conventions: The revenge on the abusive boyfriend; the three so-different young women bonding; the mother-daughter conflicts; the road trip; the scene where somebody sings "Happy Birthday" to somebody amid much general rejoicing; the adorable baby; the tear-wringing incurable-disease character; etc. It's well-written -- Don Roos, who later wrote the superb screenplay to "The Opposite of Sex," puts more curve on his dialog than most toiling in this genre -- but as with many sisters-united-in-adversity epics, it keeps wanting to yank emotions out of you rather than earn them honestly. The three leads are good, a young Matthew McConnaughey isn't yet annoying, and there are nice turns from Estelle Parsons and Anita Gillette, a Broadway baby decades earlier who matured into a proficient character actress. But Herb Ross is in his take-no-chances mode, and too much of the picture feels programmed and rote.
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