Two British best friends and in-laws Dawn and Jackie work together at a factory. When Dawn is diagnosed with a brain tumor Jackie shares $100,000 she's got from her secret lover with Dawn ... See full summary »
Two British best friends and in-laws Dawn and Jackie work together at a factory. When Dawn is diagnosed with a brain tumor Jackie shares $100,000 she's got from her secret lover with Dawn to fulfil her dream - a visit to Las Vegas. They buy two tickets and fly there.. Written by
Originally made in 1997 and intended to be shown only on ITV in the UK. However it was subsequently decided to release it worldwide as a cinema film. It was first shown on ITV on 14 April 1999, after its cinema release. See more »
A bumpy hybrid of different themes, though it comes together beautifully by the end
40-year best friends, co-workers and sisters-in-law, make it out of their British working class neighborhood for a fantasy trip to Las Vegas, tempered by the fact that one of them is dying. Director Nick Hurran and writer Kay Mellor combine quite a number of different ingredients here (including illness, men-vs.-women, factory life, family problems, financial windfalls, travelogue and lovestruck cowboys), yet, despite some missteps, the movie is a worthwhile weepy anchored by terrific performances. As the firebrand, ill-tempered man-chaser, Julie Walters tones down her sometimes-brash personality and has several beautifully realized moments; as her "mate", Brenda Blethyn juggles the more standardized clichés of a character with a limited amount of time left (she's brave, she glows, she's suddenly stronger and charts her own course), though Blethyn is very engaging here and works so naturally and easily with Walters that their friendship strikes nary a false chord. Hurran's dreamy framing of this story, with a puzzling introduction, may put some viewers off, but those who stick with it will find a rewarding drama about friendship and love. These themes have been touched on before in films--and true, there isn't much originality or surprises in Mellor's script--yet the bumps in the road here are actually rather endearing, and by the end of "Girls' Night" I was moved by the thoughtfully worked-out transition of the plotting. It's a minor gem. *** from ****
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