Who's In It: Katherine Heigl, Josh Duhamel, Melissa McCarthy, Josh Lucas, Christina Hendricks
The Basics: Heigl and Duhamel are a warring pair (he's a slutty, irresponsible bad boy and she's an annoyingly uptight caterer) who happen to be the best friends of a newly married couple. When the married couple is killed in a car accident and leave their infant daughter behind, their will stipulates that their two best frenemies have to raise the kid together. Apparently they disliked their own child that much. And Jon and Kate Gosselin already had their hands full.
What's The Deal: It's with a combination of resentment and relief that I tell you that this is not the most horrible film ever made. In fact, if they'd edited out the weakest stabs at obvious "we're so different" humor and kept the cutting, sometimes-funny insults coming, if these two people had spent more than 30 seconds of screen time grieving the deaths of their best friends and and less time cutely falling love and whining about how they're not ready to be parents, you'd have a sharper-edged drama about tragedy and its aftermath, one everybody could be proud of. It also wouldn't pack in the opening weekend rom-com-plus-diaper-antics audience. So you get this instead, a half-decent, half-trite, mostly mediocre bowl of mushy strained baby food.
Advantage Heigl: Like her and Duhamel's character, Katherine Heigl and I are also in a war with each other. Just because she's not aware of us being in a war doesn't mean it's not totally real. It's a war over ladies and comedy. She seems to hate both. I, on the other hand, do not. Not counting Knocked Up--the lone funny film she's appeared in and, no surprise, the one she badmouths the most--she has, since becoming a marquee name, done nothing but unloaded really gross anti-woman "chick flicks" on the world, movies that give that genre a bad name. But it's easy to see that when she's in her comfort zone (aka dramatic stuff like some of the more real-life moments in this movie and, Jen Yamato assures me, most of her time on Grey's Anatomy) she's not so grating after all.
Love And Let Love: Movies like this, ones with no point of view, just stars being moved from Point A to Point B like pieces on a chess board, tend to resist memorable titles. So you wind up with stuff called My Boss's Daughter and Picture Perfect and A Lot Like Love and Just Married. Remember them? No, you do not. And weirder, this movie is better than those, with a lot of plot points to hang a catchy title on, but they're unhappy plot points about death and uncertainty, so they had to trick you with a nothing-title, baby poop and funny underpants ads to get you into the theater.
Is It Weird That The Funniest Scenes Involve A Baby Being Mildly Injured? Yes. But you'll laugh anyway.