Amateur movie with Big budget

A Disappointing Continuation

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Struggling Boston architect Steve Martin (as Newton Davis) is upset when grade-school sweetheart Dana Delany (as Becky Metcalf) won't get married and move into his dream house. The blindfolded woman later reveals she didn't like the big red ribbon wrapped around the house. Later, at a Hungarian diner, Mr. Martin flirts with ditzy blonde waitress Goldie Hawn (as Gwen Phillips), walks her home and asks to use her telephone. As it turns out, Ms. Hawn can't afford a phone; instead, she offers to have sex with Martin. The copulate. After he leaves, Hawn decides to move into Martin's dream house and pretend to be his wife...Martin returns as Hawn is introducing herself to his family and friends and, for reasons of his own, decides to go along with the deception...Where this all goes won't have you guessing for long, but it is funny. A modern story and good direction by Frank Oz succeeds in freshening up Hawn and Martin, who are really a little too seasoned for their characters. He gets to trip over a couch and she gets to show off a well-rounded posterior. His parents are played by the wonderful Julie Harris and Donald Moffat, which is a huge plus. Her parents are played by the delightful Richard B. Shull and Laurel Cronin, who turn out to be surprisingly hilarious. Every scene with any of the parents lifts the situation far above its worth. Down the line, the casting shines.******* HouseSitter (6/12/92) Frank Oz ~ Goldie Hawn, Steve Martin, Dana Delany, Julie Harris

What a tangled web we weave when first we practice to deceive.Spoilers are very mild and give away very little of the plot. I wouldn't want to ruin the surprises for anyone.I had a great time watching this movie, it was a blast.The two main characters end up in an incredible mess when she starts pretending to be his wife in a house he built and doesn't live in. Towns people start treating her as his wife in absentee. He shows up and a plot is developed to make the girl he wanted to marry jealous. There are numerous complications when the two of them have to make up background on the spot and it just gets more and more complicated. They reach a point where they can barely remember all the made up nonsense. It was a laugh a minute.I was told two other actresses (who I really do like) were asked but couldn't be the leading lady because they had other commitments. I can't imagine either of them playing the role of Gwen as well as Goldie. Her bubbly, goof ball personality was just perfect. I hope the directors appreciated getting her over the two they thought they wanted.

I liked the movie. I could watch it again. I listened to the score as it played out. It seemed to me to be very Baroque, one theme against another, though all fitting together. Gwen and Newton have a one night stand. He leaves! She is resentful, he is regretful. These are not the only voices. The father, the mother and the girlfriend they come in and they come out. There is nothing deep here. There is nothing to be learned. There is only the pleasure as the different strands go against each other and resolve at the end. I laughed as I watched. I have been now told by IMDb that I must have ten lines of text. I have nothing more to say.

An architect has a fling with a sexy waitress who turns out to be a con-artist; she insinuates herself into his life and home and passes herself off as his wife to visitors. Relatively painless, genial comedy from director Frank Oz is sort of the comedic flip-side to "Fatal Attraction"--though the way Goldie Hawn plays the con-woman, she's more of a kooky flake than a comedy threat. Still, Steve Martin puts up with her for the sake of the plot, which is just an idea stretched to feature length. The more sobering moments of the third act seem to come out of nowhere; while a little dramatic subtext is surely substantial, I'm not quite certain how seriously Oz and his actors are actually taking it--or, for that matter, how seriously they want audiences to respond. ** from ****