Benjamin Barry is an advertising executive and ladies' man who, to win a big campaign, bets that he can make a woman fall in love with him in 10 days. Andie Anderson covers the "How To" beat for "Composure" magazine and is assigned to write an article on "How to Lose a Guy in 10 days." They meet in a bar shortly after the bet is made.
Mary Fiore is San Francisco's most successful supplier of romance and glamor. She knows all the tricks. She knows all the rules. But then she breaks the most important rule of all: she falls in love with the groom.
Helen Harris is living the life she's always dreamed of: her career at a top modeling agency is on the rise; she spends her days at fashion shows and her nights at the city's hottest clubs. But her carefree lifestyle comes to a screeching halt when one phone call changes everything. Helen soon finds herself responsible for her sister's children: 15-year-old Audrey, 10-year-old Henry, and 5-year-old Sarah. No one doubts that Helen is the coolest aunt in New York, but what does this glamour girl know about raising kids? The fun begins as Helen goes through the transformation from super-hip to super-mom, but she quickly finds that dancing at 3a.m. doesn't mix with getting kids to school on time--advice that Helen's older sister, Jenny, is only too quick to dish out. Along the way, Helen finds support in the most unusual place--with Dan Parker, the handsome young pastor and principal of the kids' new school--and realizes the choice she has to make is between the life she's always loved ... Written by
Sujit R. Varma
At Lindsay's birthday Jenny's daughter, Jasmine, has a broken arm. During the scene at the Davis house (after the funeral) a woman is talking to Jasmine and Oliver, her arm is not broken. But it is again in the next scene. See more »
What we got here; 1,2,3,4 - 4 beautiful ladies. Come on. Cesar let them in. Nice. Not you, too random.
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The opening credits interacts with the opening scenes, wiping on/off screen with passing persons and objects. See more »
You know when your mum's about to reveal a long-buried embarrassment from your past to your new girlfriend or when your old man heads towards the dance floor at a family wedding? That's the feeling you get from watching this movie.
A young woman learns about responsibility from her dead sister's deadly dull kids. Hold the front page. She meets a nice guy but plays it cool. Hold the next page. The teenage girl has a couple of tantrums, the cute moppet learns to tie her shoelaces and the tubby middle kid sort of mopes around a bit. Hold everything and dump the whole issue.
The sentiments and dialogue are so far off the pulse that you can see the liver spots. How could that happen with a hip 'n' groovy director like 70-year-old Garry Marshall? Ah...
Vanilla stars like Hudson and John Corbett don't help, but Joan Cusack can usually be relied upon to put a spark into the dreariest of scripts. Sadly, even she can't rouse this script victim from its coma.
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