the audience applauded

Nice effects though.

Good story, Not enough for a whole film

Best movie ever!

the ambition to propose more than a romantic story is the basic virtue of film. the stories of two people who becomes parents, a couple, a family, has a great potential without be an original subject. and two good looking actors in lead roles represents a good point. Josh Duhamel does a good job in a role who explores the paternity in smart manner , using humor and drama in right doses. sentimental, decent, proposing solutions and reflecting a serious problem of every day reality, it seems be a little different by many other too sweet romantic stories. sure, it has a precise target and the need to respect the last decade rules of genre. but it has all points to not be boring or pathetic. and Katherine Heigl gives her the best.

It is a given that all non-documentary movies require some suspension of disbelief. However, they are still required to meet some level of plausibility. This movie doesn't make it.The entire premise of the movie is that two people who can't stand each other would agree to take on the responsibility of raising a kid for parents who never bothered to tell them they were appointed as guardians. This is simply preposterous on too many levels for any rational human to accept. Maybe if this were sold as a fantasy, it might have a chance, but I doubt it would work.I bailed after the first half hour.

Fixed up on a blind date by mutual friends, a bakery shop owner (Katherine Heigl) and a womanizing bachelor (Josh Duhamel) share an instant dislike; but, after their friends are suddenly killed in a car accident, the bickering un-sweethearts discover they've been awarded joint custody of the couple's infant daughter (along with their expansive two-story home--mortgage-free!). Awesomely-extended romantic-comedy-with-child is occasionally overbearing and written at a tasteless level, with the usual quota of poo-poo jokes and slung baby food. The leads, along with a colorful cast of supporting players, certainly make it tolerable (Heigl, in particular, is very adept with the changing rhythms of the film's bumpy tone), but it's a wasted effort. Director Greg Berlanti steers the final act to a feel-good finish, but even this commercial bow seems tied too tightly. ** from ****

Katherine Heigl and Josh Duhamel use on screen chemistry to make this quite original storyline work in a pleasing way, even if at times the film always follows the signposts without ever hinting that it may surprise you. The plot bases itself on what happens if married friends would like you to look after their kid(s) if anything terminal should happen to them both. Enter Sophie whose parents perish. There are actually three Sophies but they only ever appear singularly and we cannot see the joins...The screenplay centres around whether or not Holly (Heigl) and Mess (Duhamel) will get it together sufficiently well to provide for Sophie as her parent's would have wished. Of course Holly and Mess have almost diametrically opposed ideas and ideas on life choices entirely designed on making the other feel inferior. Whilst this is going on Sophie is growing up and not all is as straightforward as planned.One of the most charming aspects of the script is its penchant for discovery, or perhaps a better word would be disclosure. We witness Holly and Mess discovering and disclosing slowly but surely through the film whilst all around them people seem to be sure the "happy" couple will eventually get it right. Perhaps it takes more than Sophie to do that though and that is where the film works really well.The acting is good throughout, and the scenes of Sophie growing up are sometimes a joy. It is perhaps a little too strongly "middle class" in places but it doesn't detract from the enjoyment.I give it seven for achieving what it sets out to do.