39-year-old April Epner's childish husband and school teacher colleague Benjamin/Ben leaves her, but with her biological clock ticking ever more loudly. Her dying bossy adoptive mother is ...
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Colin's a sad-eyed British artist holed up in a rundown hotel in small-town Vermont after being dumped by his fiancée. The hotel owner plays matchmaker and introduces him to a local girl. ... See full summary »
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Memoir of the lives of a family growing up on a post World War I British estate headed up by a strong disciplinarian, her daughter, her inventor husband, their ten year old son and his ... See full summary »
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Awaking from a coma to discover his wife has been killed in a car accident, Ben's world may as well have come to an end. A few weeks later, Ben's out of hospital and, attempting to start a ... See full summary »
Karen O'Connor, a young journalist known for her celebrity profiles, is consumed with discovering the truth behind a long-buried incident that affected the lives and careers of showbiz team Vince Collins and Lanny Morris.
39-year-old April Epner's childish husband and school teacher colleague Benjamin/Ben leaves her, but with her biological clock ticking ever more loudly. Her dying bossy adoptive mother is very vocal about her disappointment, while her natural son Freddy, a doctor, is most understanding. Shy but fascinating British author Frank meets April, his doted son Jimmy Ray's teacher, which soon leads to a full-flung affair. At the same time April's birth mother Bernice Graves locates her and begins attempting to establish a relationship. On top of all these balls in the air, April discovers she's finally expecting Ben's baby.Written by
When Tim Robbins directed his first feature film, Bob Roberts (1992), Helen Hunt appeared in a brief cameo as a television news reporter. When Hunt made her feature directorial debut with this film, Robbins returned the favor and appears briefly as one of the interviewees on the Bette Midler character's talk show. See more »
When April picks up Frank in her car outside his house, both the driver side and passenger side windows are up. But every time the camera is behind either of their heads while they're talking in the car, you can see their hair blowing from the wind coming through the open car window where the camera is mounted. See more »
The walk didn't work. You're mother's here.
No she's not, I told her to wait in the car.
[Frank drags her around the corner]
I'm just here if either of you need me.
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a grounded in reality chick flick that is terrific
This movie is not bad at all.
I caught the first 10 minutes as I waiting for the film I came to see started. I was intrigued and came back the following week to see this little gem of a movie.
With Colin Firth and Matthew Broderick playing against type, it was a relief not to see them so admirable in their roles. Yes, Bette Midler played the typical yenta shrew but hey, at least we see Bette. She's been away from the screen for far too long.
I'll be the first to tell you I have never been a Helen Hunt fan at all. I have never even seen her hit t.v. series, Mad About You. Something about her just rubbed me the wrong way in the movies I have seen her in. But then, I saw this movie and I loved it and she did a terrific job in her production.
Seriously. All these people who are criticizing her are slamming her for the wrong reasons. Why? This is one of those FEW films in life in which it's neither the director, writer, or actor's fault. If there is any downside, it's the editor's fault. Yes, it is.
Why? Because the editor chopped up the scenes. In the editing room, a director can become a genius or a fool. This is one of those cases. I do not fault Helen's direction. I fault the editor here. Some of these scenes should have been allowed to breathe on their own, not jump cut from one emotion to the next.
Despite that editing distraction, this chick flick has heart, it does have emotion. How do I know this? I heard a lot of sniffling, tears of sorrow and joy in the audience when this film ended. That is what a film is suppose to do, make you feel something, be a participant, not a witness.
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