Jenna is unhappily married, squirreling away money, and hoping to win a pie-baking contest so, with the prize money, she'll have enough cash to leave her husband Earl. She finds herself pregnant, which throws her plans awry. She bakes phenomenal pies at Joe's diner, listens to old Joe's wisdom, tolerates her sour boss Cal, is friends with Dawn and Becky (her fellow waitresses), and finds a mutual attraction with the new doctor in town. As the pregnancy advances, life with Earl seems less tolerable, a way out less clear, and the affair with the doctor complicated by his marriage. What options does a waitress have? Written by
The scene where Jenna and Earl argue in bed, originally concluded in a sexual encounter that Keri Russell described as "kind of rapey". While filming the scene, Jeremy Sisto's sympathetic delivery of the line, "You're my sweet thing", caused Adrienne Shelly to reassess her original concept of the character, and she changed the scene on-set to end with Earl quietly going to sleep. See more »
Assuming this movie takes place in the present, the nurse's uniform in the delivery room is a least twenty years out of date. RN's are no longer required to wear all white nor to wear their nursing school cap. Even the most die-hard ones gave up the white and caps by the mid 80's. See more »
Are you happy? I mean, would you call yourself a happy man?
Well if you're asking me a serious question, I'll tell you: I'm happy enough. I don't expect much, I don't give much, I don't get much I'm generally enjoy whatever comes up. That's my truth, summed up for your feminine judgment. I'm happy enough.
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Hard to review this film under the circumstances. Adrienne Shelly's death was a body blow to me. I didn't know her apart from her work over the past 18 years, but that was enough to know that we lost someone truly important on November 1, 2006.
It's the movie that matters, and this one shows Shelly coming into her own as a director, the third time out of the gate. It's smart and funny and life-affirming, and when stacked up against "Fay Grim," the latest effort from writer-director Hal Hartley (who gave Shelly her start), there's really no contest: it's the pupil over the mentor all the way.
(Sorry, Hal, if I've offended, though I doubt that you'd mind.)
Small film, huge heart.
For the record, the Adrienne Shelly Foundation is a very good cause.
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