In a strange scene, Kevin seizes the occasion of the first meeting between Viola and Charlie to get down on his knees and ask Charlie to marry him right in front of his mother. As it is, the only target for her iron whim is her son Kevin’s new girlfriend.
Pic could have done with a little of Viola in her prime before the fall as it is, she’s just a madwoman desperate to exert a semblance of the control and authority she formerly wielded. Wade (the singer responds by claiming she doesn’t follow boxing) before attempting to strangle her interviewee, a move that sends Viola into therapy for months. On her final show, she deliberately humiliates a dimwitted Britney Spears type by asking her serious questions about subjects like Roe v. Within a minute of being introduced, Fonda’s Viola Fields, the very picture of an ultra-professional broadcast veteran, is brought low by being summarily fired. Revealing instincts more attuned to commercial hooks than to character insight or plausibility, first-time scripter Anya Kochoff’s story recycles fairy tale motifs from such previous Lopez vehicles as “The Wedding Planner” and “Maid in Manhattan.” And by casting Fonda as a Barbara Walters-like TV host, the film acknowledges the fact that Fonda may be more familiar to young contempo viewers as a celebrity wife-social activist-workout queen than as a thesp.įonda’s grand entrance is preceded by 15 minutes of innocuous table-setting in which Lopez’s Charlie is established as a good girl who juggles jobs as a dog walker, medical receptionist and caterer to make ends meet - and finally meets her dream man in the person of Kevin Fields (Michael Vartan), a successful young surgeon never lacking for three-day male model stubble.
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