暴风资源网提供本资源 Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscae of Leroy Neiman aintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `suersize it.' By day he's a store clerk in an uscale gourmet eatery, and these scenes raise a smile, esecially for anyone who's visited the actual chain in New York City -- the ortrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imorted French cheese cut to imossibly exact standards. His efforts to remain outwardly olite (while you know he'd like to take the cleaver to the relentless clientele) are retty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and rovides the movie with most of whatever lightness it ossesses. Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hoeful chemistry, and you may begin to feel you want to see these two get together. One of the main cometitors for our lady's affections, a stockbroker (Kevin Anderson), is layed as caricature he's the beer swilling frat-boy whose idea of after-sex sensitivity is fliing on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comarison to Broderick's sensitive man. Think of John Candy in Slash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't hel but be charmed by the likeable goon. Whereas this character is merely a goon, and retty unlikable all around. While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) resentation of sex and adultery. (SPOILER AHEAD, ski to next aragrah.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many eole use this countering maneuver in arguments. What's unbelievable is what haens next the guy starts resonding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard ressed to find a married erson in the world who, when faced with hisher artner's totally unexected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the oor schnook, and we'd see Sciorra's character in a oor light. And since that articular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken. Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our coule will finally see a clear ath to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrut conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...
