Robin shares a ride in her car with Jane from New York to Los Angeles. They stop at Jane's friend Holly's place in Pittsburgh and take her with them west, making a long stop in Tucson. The three very different women become close friends.
Jane is a night club singer out of work. Robin is a quirky real estate agent looking for a ride-share to accompany her to Los Angeles. Her advertisement is answered by Jane, who at first was uncertain about her. A stop in Pittsburgh picks up a third, Holly, escaping a violent and drug dealing partner. Girls on the road, reaching understanding, respect, and care for each other. But this trio is different - Jane a lesbian, Robin suffering with AIDS, Holly running from her past, seeking one night stands, and a good man.Written by
Bruce Cameron <firstname.lastname@example.org>
Holly calls her baby girl Mary Todd, which makes her full name: Mary Todd Lincoln. This is a reference to Mary Todd Lincoln, who was married to Abraham Lincoln. See more »
After leaving NY, Jane and Robin appear to drive an entire day & then spend the night in a motel. There, Robin mentions to Jane that in order to get to Pittsburgh by noon the following day, they'll need to leave by 8:00am. Pittsburgh is less than 6 hours from NY which means they would have only driven 2 hours on the 1st day before stopping to stay overnight in a hotel. See more »
Did I hurt him?
What do you mean did you hurt him, you hit him with a bat!
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Count the chick-flick conventions: The revenge on the abusive boyfriend; the three so-different young women bonding; the mother-daughter conflicts; the road trip; the scene where somebody sings "Happy Birthday" to somebody amid much general rejoicing; the adorable baby; the tear-wringing incurable-disease character; etc. It's well-written -- Don Roos, who later wrote the superb screenplay to "The Opposite of Sex," puts more curve on his dialog than most toiling in this genre -- but as with many sisters-united-in-adversity epics, it keeps wanting to yank emotions out of you rather than earn them honestly. The three leads are good, a young Matthew McConnaughey isn't yet annoying, and there are nice turns from Estelle Parsons and Anita Gillette, a Broadway baby decades earlier who matured into a proficient character actress. But Herb Ross is in his take-no-chances mode, and too much of the picture feels programmed and rote.
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