Parce que c'était toi

The constant TOO LOUD music is SO distracting!! Aargh!!

Bernsen plays the manipulative owner of an advertising agency who convinces his daughter (DeVitto) to rejoin the firm as a means to leverage her talents and appeal to clients looking for a younger perspective.

Aside from Bernsen and DeVitto, there's another relationship building with ultra smooth ad man Wade employing every cheesy compliment he can conjure to ingratiate himself with Henry playing DeVitto's right hand woman and trusted confidante. Veteran actress Gina Gallego also has a minor supporting role playing co-ordinator of the local cultural centre at which DeVitto volunteers.

Reasonably well acted on a combination of mostly sets and sound stages with occasional exteriors, it's a thin plot but there's just about enough material in this formula daddy-daughter reconciliation matinee to hold the interest if your expectations are modest.

For me, this type of movie depends heavily on the relationship building between the leads. This movie throws not one, but two couples together and their relationships form instantly. Not only do they fall in love quickly in terms of their own time together, but things move too quickly in terms of screen time.

One third of the movie was spent in arrogance, bickering, childishness, and the stereotypes of corporate rules vs. Free lance. Some of that included the obligatory antagonism between Darby and Derrick, which as is so often the case, disappeared like a lightbulb being switched off. So you have roughly 2/3rd of 90 minutes running time left, but a lot of that was involved in trying to get the pitch, the community center, and Darby's interactions with her dad. Then you have to leave time for the conflict and resolution. You have very little of the screen time that is actually spent building not just one, but two sets of relationships.

Much of the movie was predictable, but the source of the conflict was not. Of course, once that was established, the resolution was totally predictable.