Life as We Know It

Hey. My girlfriend made me watch it.

Why did I even watch this movie, I still have no idea. The story is a make believe story even for a movie, a really bad one too. I really found it hard to be even willing to accept the story, to far fetched. Didnt even have a chance to break smirk on my face either.

As is often the case with American romcoms, the film centers on what are essentially Barbie and Ken dolls, living in a huge dollhouse and leading near perfect lives, and this rather dampens whatever drama, whatever plight is supposed to be overcome. The pace is flowing and it does have some amusing moments.

Poorly written plot involving horrible unlikeable assholes being bastards to each other to the sound of a screaming baby.

I looked at the poster, read the synopsis and just knew it was going to leave me an empty husk, but the empty husk that sends me here to bitch.

Not genius movie but liked the story and acting was good.

Cheesy and predictable, but pretty cute light comedy.

Mediocre, soulless and charmless. Its two leads are good looking and even interesting to watch together, but they can't save a movie this pathetic on their own.

Has some boring rom-com-clichés as well as some nice little twists on those. And really good acting. Nice chemistry.

Katherine Heigl is a good choice for roles like this and she has a good charisma about her that makes her feel believable. This film had emotional moments in all the right places and that is why it scores slightly above other comedies similar in nature.

#14#, rw4, candy, Katherine.H!, rewatch(2) }*{ #11#, candy, Katherine.H.

Çok hafif dramla romantik komediyi güzel harmanlamışlar ne diyim. P.S.: Katherine Heigl'a sarı saç çok yakışıyor bence...

Touching, humorous, sometimes recognizable and a predictable ending. The movie is more enjoyable as I thought it would be, but it's too bad that the ending is that predictable.

The fake sequel to Knocked Up (which eventually got a real fake sequel). Eh. Has its moments, but few and far between.

Katherine Heigl and Josh Duhamel co-star in this story of two people thrust together by the deaths of their friends and the child they left behind. They try to raise the girl and find some common ground. Havoc ensues as they adjust to raising the baby together. There are some great moments, and the requisite happy ending.

OK romantic comedy, mostly formulaic and far-fetched.

So where was the problem? Changing diapers? Tough one, indeed.

A romantic comedy that we've seen many, many times.

You know that Jimmy Durante line...the song has gotta come from the heart? Well, it does, and this one does too. The music choices are very bad and accent the (hyper?) sentimentality too much. This ain't a bad film. I believed the relationship of the two leads and I liked them too.

i couldn't buy into the premise so everything that followed seemed contrived and ridiculous.....take your chances.

very funny and cute 10 out of 10

2-3

I picked up this flick solely because of Katherine Heigel and I was not sorry a bit. She's divine. She's hot and she can be funny as hell. The story was total baloney, a non existing paper doll life you can find only from movies. And even like that it was one of the worst in long time. And Christina Hendricks. I fell in love with her acting already in Mad Men. She's not only got a hot body, she can act as well. I was surprisingly glad to find her from this flick too.

The actors didn't have a chance - that ridiculous house chewed right through the scenery. Surely it would have been marginally more interesting if the protagonists had inherited parenting duties, a messy little bungalow and a heap of bills. And cupcakes, too!? What is this, some kind of massive double switchback irony exercise? Heigl is actually sort of funny, but it's all kind of a heavily furnished waste.

I laughted at some point, but, this is too colorful to me.

Good for a laugh, but don't look for anything deeper than that.

Berlanti's irreality -- following the cutesy script by Ian Deitchman and Kristin Rusk Robinson -- results in a synthetic vision of life that is, essentially, an appeasement of the pre-fab, bourgeois status quo.

"While director Greg Berlanti has a knack for cheap sentimentality, he's also surprisingly deft at moving between melodrama and moments of levity." - Paul Schrodt