Mixed or average reviews- based on 47 Ratings
Oct 21, 2010Better than average. Worse than I thought it would be.
Two polar opposites stuck to raise a child. Together. After their mutual friends are killed in a car accident, they're the only option. What else happens is not only predictable, but almost inevitable. I hate to say this, because I love Katherine Heigl and Josh Duhamel, but the script is pretty run of the mill. While the relationship with the child is well-thought out, and though unoriginal, fun to watch, the relationship between Messer and Holly was too quick. You don't go on a date and fall in love. This isn't a Nicholas Sparks novel. Their relationship was too rushed. I'm not sure who to blame here - the writers or the director, for editing out good moments between the pairing. This is aimed at for hopeless romantics (myself included) so maybe it would've been smarter to focus a little more on the couple.… Full Review »
Jan 28, 2012Life as We Know it means well and it features surprisingly good performances from Katherine Heigl and Josh Duhamel who have excellent chemistry. The film does generate some laughs but falls for the basic Romantic Comedy formula instead of the hopeful premise we had in mind. I give this film 58%.… Full Review »
Oct 12, 2010This review contains spoilers, click full review link to view. The rich are different, but not this different, not this cheeky. We can only hope that life doesn't imitate art, since romantic comedies as we know it, are growing more bizarre with each new entry in a dying genre whose modern-day practitioners have butchered so many hearts on celluloid, we stopped counting, and this latest entry, "Life as We Know It", is just one more rom-com that seems less concerned with the mysteries of love than the plot machinations which tears love apart before it even has a chance to coalesce. The rich can't be this twisted, can they? With friends like the Novaks(Hayes McArthur and Christina Hendricks), who needs any enemies? Messer(Josh Duchamel) and Holly(Katherine Heigl) have the worst friends ever, friends that on some level, must resent their single lives and the liberties that goes along with it, especially the liberty which retains them the right to pursue dreams, unencumbered by baggage. He wants to direct NBA basketball telecasts; she wants to expand her bakery into a restaurant, but after Peter and Alison, all too conveniently, die on cue, their baby, the baby of discontent, seemingly, throws a monkey wrench into the career trajectories of Sophie's legal guardians, who are probably the least qualified people for the job: two emotional idiots, too self-centered for child rearing, and too stupid to realize they've been "punk'd" from beyond the graves. Why don't they object more fervently to the conditions? Strangest of all, the Novaks have a stipulation in the will that Holly and Messer should live in their house with Sophie, like an arranged marriage, complete with child, which makes "Life as We Know It", a rom-com with accidental Indian undertones. If Heigl sang(as she performed "Bennie and the Jets" in Anne Fletcher's "27 Dresses"), then the film would have the makings of an accidental Bollywood musical. Doomed from the outset, the set-up, singles being so gung ho about moving in together with somebody else's baby, is so hard to accept, since their first date went so horribly wrong. It's not emotional blackmail, the need to fulfill dead friends' wishes, that keeps them together, it's the contrivances set forth by a narrative which isn't altogether different from John Landis' "Trading Places". Like Mortimer(Don Ameche) and Randolph Duke(Ralph Bellamy), who both allow somebody equally unqualified(a con-man named Billy Ray Valentine(Eddie Murphy), a financial naif) to take care of their business, their "baby", a wager must also have been the inspiration for Peter and Alison's idea to bestow full custody of Sophie to such incompetent parental candidates like Holly and Messer. Life, as "we" know it, real life, that is, not the diegetical life which sometimes breed convincing human simulacrum, but more often than not, plays as a backdrop for conceptual "people", would entail that some family member from the deceased pair step forward and claim the Novak baby. But "Life as We Know It" doesn't want anything to infringe on the supposed hilarious domestic hijinks of first-time parents, or the supposed heartbreak of first-time parents breaking up, and then the poignant reconciliation, again, at an airport, of first-time parents kissing.… Full Review »