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 <email@example.com>
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 »
When the doctor is talking to Jane after Robin is rushed to the hospital, she says that Robin is "going to the eighth floor". But exterior shots of the same hospital throughout the film show that it is only about four stories high. See more »
[referring to Holly and Abe]
So what? She still should grab him. Believe me I know what she's gonna have to go through. You know, I'm a feminist too. I was a single mother after your father left. You think that was easy? I even voted for Carter twice. But you can't fight nature. God knows, you girls keep trying. Treating your men like side dishes. Stick a fork in when needed-just like men used to treat us.
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Written by Donovan (as Donovan Leitch)
Performed by Tito and the Teatro Carmens See more »
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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