Mut zur Liebe

Cate (Mary-Louise Parker) is one of four sisters who live and work in the D.C. area. Owner of a resale/consignment shop of vintage clothing, Cate blandly goes from day to day with an occasional date with her boyfriend, Philip. Cate loves her sisters but does not get along with her father; she harbors resentment for the way he treated her now-deceased mother. At a family gathering, Cate is introduced to Harry (Peter Gallagher). The two take a liking to each other, further complicating Cate's relationship with Philip. Part of the plot then revolves around Cate's decision about her future partner. But, always coming to the forefront is Cate's estranged relationship with her father. Will it be possible for a father and daughter reconciliation?

Having been attracted to the cover, viewers searching for a romantic comedy will be only half-satisfied. There IS a sweet romance but the bittersweet relationship between Cate and her father overshadows it, in part. There is another subplot involving serious illness which detracts from the romantic elements, too. Perhaps it is a case of too many subplots, too little time. The ending resolves one situation but fails to provide closure for another critical element. Those searching for a romantic comedy will be better served with Sleepless in Seattle or Kate and Leopold. Those wanting movies about family dynamics, however, may find this one intriguing.

This is the type of movie that you can just enjoy. The lead actress is quirky and independent yet allows a man that really doesn't love her for the right reasons become her fiancé. After she meets and falls in love with the right guy, she quickly realizes what she must do. She also must deal with and try to mend the broken relationship with her father. Overall, the movie is a winner and definitely worth watching.

This film is a grabber for the extreme attractiveness and likeability of the cast--Mary Louise Parker and Peter Gallagher in particular--but, sadly, fails to live up to its initial promise. The first half is strong, with good establishing scenes and dialogue. The viewer is drawn into the dilemma of lead character Cate--a beautiful young woman with a pleasant but clueless fiance--who is debating her future when a handsome lawyer comes into her life. Unfortunately, the plot loses its way later on, with dialogue and a plotline that seem so random you're unsure what the next odd turn will be. Still, Parker is a winning heroine and makes this mishmash almost worth watching.

OK, I admit, I DESPISED the first hour or so of this film. I taped the movie because I'm a sucker for romantic movies and I watched it later. The girl is loved by a handsome stranger, who is her true love, yet she's going out with a louse, she can't get along with her father, etc, etc, etc. Nothing we've never seen before, in other words.

But the film really starts to get good at about the midway point. Peter Gallagher, a very good actor from Hollywood, is absolutely charming in a role that might be a little bit of a departure for him. HE is everything good about the movie.

Unfortunately, Mary-Louise Parker (who was phenomenal in Fried Green Tomatoes) lacks charisma at times as his leading lady, but she, like the film, does seem to get better as the film goes on. I think a Kellie Martin or even a Melina Kanakaredes would've filled the role better. Mr. Gallagher and Ms. Parker have very little chemistry here. Supporting actors Philip Bosco, Joanna Going and Bebe Neuwirth all do an admirable job.

Not a bad telefilm, but Hallmark did better with Saint Maybe a couple of years back.

Besides having an irrelevant title, this Hallmark television movie suffers from bad structure. In the beginning, it feels like the traditional Hallmark romance story. Mary-Louise Parker plays Cate DeAngelo, a likable owner of a vintage clothing shop. Her committed relationship seems to be headed nowhere, so we expect this film will be about her journey to find real love.

But the story splinters into a few offshoots that concern more serious issues, effectively leaving the viewer with a narrative chaos.

Worst of all, there are sudden transitions and jarring changes in story that suggest bad editing. Unfortunately, this undermines some good acting. It feels like the integrity of the film was destroyed by some bad choices in post production. Perhaps these were made to reduce the running time, but the final version is no better than average.