Retired Mexican-American chef Martin Naranjo shares an L.A. home with his three gorgeous, but single, adult daughters. Though he long ago lost his ability to taste, Martin still lives to cook incredibly lavish dinners for his loved ones and to serve them in a family-style ritual at traditional sit-down meals. Although the women humor their father's old-fashioned ways, each of them is searching for fulfillment outside the family circle. College student Maribel is growing increasingly frustrated with the singles scene and wants a steady man; gorgeous career woman Carmen is fed up with her boyfriend and his wandering eye; meanwhile, eldest daughter Letitia, who has suppressed her own romantic longings, senses something missing in her life. Things take a turn for the romantic when Dad, a widower, meets a vivacious divorcee on the lookout for a mate and each of his daughters, in turn, finds someone. But they'll all discover that the recipe for happiness may call for some unexpected ... Written by
Sujit R. Varma
The food that Martin Naranjo cooks was prepared by Mary Sue Milliken and Susan Feniger who run restaurants in Los Angeles and Las Vegas. See more »
At the end when Carmen is leaving the kitchen to serve her family, at first she has one plate without the lobster, then when she is leaving the kitchen, as she is turning the corner, she has the plate with a lobster. Then, coming out of the kitchen, the lobster has disappeared, then reappears again when she turns towards the tables. See more »
Better than the ordinary Hollywood movie, this family comedy does a very nice job of presenting a variety of characters in the throes of pursuing their own version of the American Dream. That the family is Mexican-American adds a welcome difference. The camera loves the food being prepared, the Latin-flavored music score enlivens the proceedings, and the acting is quite serviceable. Jacqueline Obrador and Elizabeth Pena shine as the older daughters in the family, the always-reliable Hector Elizondo is fine in a rare leading role. Of greatest interest, however, may be Raquel Welch, playing her age and her ethnicity for the first time in my memory. It is her role, not her performance, that mars the movie. She is a caricature of an older-middle-aged unattached woman, the butt of unkind jokes. And it is the unwitting bias toward the older woman character that undermines the otherwise upbeat, happy ending intended. Still, this one's worth the cost of a rental. Not great art but at least it doesn't insult the viewers' intelligence.
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