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 ...
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The high-school student Matt Leland lives with his twin brother and sister and his father in a house by the lake. When the teenager Casey Roberts moves to the house on the other side of the... See full summary »
On the run from the law, desperate drug runner Astor and his beautiful prisoner struggle through the savage heat. They are offered a ride by two unsuspecting travelers. Claiming to be ... See full summary »
A teenage girl and her father driving cross-country become stranded when their car runs out of gas in a remote Nevada desert town and they're forced to stay in a dilapidated trailer park where a serial killer lurks.
When Manny Singer's wife dies, his young daughter Molly becomes mute and withdrawn. To help cope with looking after Molly, he hires sassy housekeeper Corrina Washington, who coaxes Molly ... See full summary »
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>
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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