After a single, career-minded woman is left on her own to give birth to the child of a married man, she finds a new romantic chance in a cab driver. Meanwhile, the point-of-view of the newborn boy is narrated through voice-over.
Double-crossed, the lovelorn and very pregnant New York City accountant, Mollie, gets into James' cab and rushes to the hospital to give birth, after a failed attempt at love with a sleazy and self-centred businessman. Suddenly, Mollie is a single working mum--and what is even more disheartening--she has to embark on the nearly impossible quest to unearth the ideal father for her outspoken boy, Mikey. Could the perfect father be James, Mikey's favourite babysitter?Written by
Of all the roles he's played, John Travolta said the character he plays in this film is the most like his real personality. See more »
During the very last scene James and Mikey go to a hospital to see Molly. While walking into her hospital room you can see it's obviously a set/sound stage when you look up at the top, in the corner(s), you will see it for a few good seconds. See more »
I know this may be hard to understand, but I'm going through a selfish phase right now.
A selfish phase?
I admit the timing is bad.
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After Pete Townshend's "Let My Love Open the Door" finishes playing, the remainder of the end credits have absolutely no other music or audio playing during them. See more »
The UK cinema version was cut by the BBFC to remove one use of the word 'fuck' during the childbirth scene. This was restored to all later releases. See more »
The concept of woman-with-child-meets-man-and-falls-in-love has been done to death in the movie industry. The only thing that can save a movie from being lost in the existing hash is a gimmick that makes it unique. Fortunately, "Look Who's Talking" gives a fresh perspective on an otherwise trite situation by demonstrating it from the baby's point of view. Even this could become annoying were it not for the fact that, rather than having a child actor flesh out the character, the clever, snappy dialogue is delivered by Bruce Willis in his most likeable role since "Moonlighting". Had they used a child's voice, lines such as "Let's get some apple juice down here!" would be merely cute; with Willis' smoky growl, they are hysterically funny.
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