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.
The love life of Charlotte is reduced to an endless string of disastrous blind dates, until she meets the perfect man, Kevin. Unfortunately, his merciless mother will do anything to destroy their relationship.
Single-girl anxiety causes Kat Ellis to hire a male escort to pose as her boyfriend at her sister's wedding. Her plan, an attempt to dupe her ex-fiancé, who dumped her a couple years prior, proves to be her undoing.
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.
Marisa Ventura is a single mother born and bred in the boroughs of New York City, who works as a maid in a first-class Manhattan hotel. By a twist of fate and mistaken identity, Marisa meets Christopher Marshall, a handsome heir to a political dynasty, who believes that she is a guest at the hotel. Fate steps in and throws the unlikely pair together for one night. When Marisa's true identity is revealed, the two find that they are worlds apart, even though the distance separating them is just a subway ride between Manhattan and the Bronx.Written by
Julia Roberts' sister, Lisa Roberts Gillian, appears in most of Julia's films. Despite Roberts passing on this projects, Gillian still appears in this film. See more »
The hotel manager enters the lift with Chris, Marisa and Ty but by the end of the scene, the manager does not seem to have had an opportunity to leave politely, but is nonetheless no longer there. If viewed in "Anamorphic" widescreen (2.40:1), at about 31:40 minutes, at the very right edge of the screen after the elevator bell dings, you can see part of the manager's (John Bextrum's) back, leaving the elevator just before the French lady in the black hat crosses in front of the camera. After all, he was the last person into the lift, and the closest one to the door, so he would be the first person to exit as well. See more »
Come on. Get your coat. We gotta go. You have everything?
Hurry up, sweetie. We're late. Ty. Today papí. You're killing me, Ty. Right now you're killing mommy.
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There's something refreshingly sincere about this movie. The lead actors seem to have a genuine connection. The lack of awkwardness Lopez's character displays as she tries to fit into high-society perhaps is not quite realistic; she seems to be able to transition back and forth a bit too easily. But realism, which seems to be the stylistic fad these days, especially among snobby "high-art" movie ... ahem ... FILM goers, is not really the point here. To criticize the movie on those aspects would be silly (just as silly as it would be criticize Cinderella on those grounds ... and it isn't pumpkin carriages that I'm talking about).
While the story has been told many times before, it's not alone in that respect. If anything, that only goes to affirm the universality of the rags-to-riches love story. If you're looking for a charming, funny, and sincere update to Cinderella, you could do worse than to watch Maid in Manhattan. 7/10.
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