The Orient Express, on it's night trip from Munich to Venice, is full because of the beginning of the carnival in Venice. Between the passengers are a journalist, an actress and her ... See full summary »
Joe's a car salesman with a problem. He has two days to sell 12 cars or he loses his job. This would be a difficult task at the best of times but Joe has to contend with his girlfriends (... See full summary »
In the last scene, when Samuel is putting the baby to sleep and Rebecca joins them, Sam proceeds to kiss her - a cue to kiss her on the "forehead" can be heard. See more »
[after 2 months of abstinence, she finally feels good enough to make love again. But, after a mad dash to their room and settled in bed... ]
I don't think we should make love until we talk to the doctor.
We don't know what could happen, hon.
But you know what? I bet if we wait a while, we can feel the baby move again.
[trying hard to be brave]
Yeah. Yeah. Yeah. That would be just as much fun.
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At the beginning of the end credits, baby pictures of the main cast are shown with their individual credits. See more »
This film is as subtle a kicking a house brick with your toe, and deeply dishonest.
The comedic characters and events are from the era of the Keystone Cops; completely over the top. This film is from the genre of farce verging on melodrama, complete with music to make sure we know what we are supposed to think. It should have been honest enough not to pretend to anything more complex.
The life challenges faced by the characters are real enough but the plot is completely cliché and obvious.
The central characters are simplistic and are black & white (she all good, he all bad). The dialog is from the day dreams of a fourteen year old.
The fact that a film uses actor Hugh Grant does not make it sensitive, uplifting or funny. The fact that a film contains sex and slapstick does not make it a romantic comedy.
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