Joe and Lucy are roommates and best friends. Lucy, whose love life is embarrassingly dull, convinces Joe, who is infatuated with a neighbor he's never met, that if they don't have stable ... See full summary »
A man and a woman go out on a "big" third date. He's ashamed to admit he just lost his job, and she's afraid he'll run away if he finds out that she has a kid. Small lies lead to bigger ones and the night gets crazy very soon.
Melanie Parker, an architect and mother of Sammy, and Jack Taylor, a newspaper columnist and father of Maggie, are both divorced. They meet one morning when overwhelmed Jack is left ... See full summary »
Joe and Lucy are roommates and best friends. Lucy, whose love life is embarrassingly dull, convinces Joe, who is infatuated with a neighbor he's never met, that if they don't have stable romances within a month, they must jump off the Brooklyn Bridge. Written by
Bob Amaden <email@example.com>
Platonic best friends and roommates Sarah Jessica Parker (a therapist who's bored with her clients) and Eric Schaeffer (a struggling artist who also teaches art to kids) are frustrated over their lackluster love lives and recall a pact they made years before: if they're both without partners at the age of 30, they will jump off the Brooklyn Bridge together. Romantic comedy alternates between being jaded and sentimental; it has flashes of satirical wit--but only flashes. Sarah Jessica Parker doesn't have much of a character here, and she compensates for this by doing silly bits of business (stretching, giggling, making faces). The most natural performance in the film is turned in by Elle Macpherson as Schaeffer's dream girl; the role is an enigma, but Macpherson's offhand appeal and easy manner gives this fantasy figure some personality, whereas Parker is stuck in a vacuum. Ben Stiller overdoes his small part as a celebrity artist and a young Scarlett Johansson turns up as one of Schaeffer's students (looking like a pint-sized Lolita), but Schaeffer himself runs hot and cold. Wearing funny hats and talking in different rhythms, Schaeffer doesn't really overplay or underplay--he's a goofy mensch, but not a dynamic one like Albert Brooks or Woody Allen. He's careful to give his character some shading, yet the quirks--like much of the serious dialogue--are superficial. *1/2 from ****
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