From my favorite movies..

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

With director Frank Oz re-teaming with Steve Martin, this should had been funnier but at best is watchable and dull. Worse we rarely see Martin doing anything funny.Martin plays Newton Davis, an architect who has built his own dream house which he hoped to share with childhood sweetheart Becky (Dana Delany.) Unfortunately Becky has turned down his proposal for marriage leaving Newton to mope about.After sharing his troubles after a party in New York to a Hungarian waitress called Gwen (Goldie Hawn) that leads to a one night stand. Newton finds that Gwen has crashed into his life, entered his small hometown, into his dream house spinning a tissue of lies including telling people that they are married which Newton goes along with hoping he can win back Becky.The plot is rather preposterous and far fetched. It is hard to take Newton's friends and family being taken in by his and Gwen's sudden relationship.What is more Steve Martin is rather too old to be playing a single man presumably in his 40s trying to woo his childhood sweetheart to marry him. You mean after all these years he and Becky never even lived together?

This is the opposite of The Invention of Lying, and has a scene that will remind you of What About Bob. (if you've seen that) Steve Martin plays an architect who builds a dreamhouse with the intention of moving into it after he proposes to his girlfriend-unfortunately, she says no. He then has a chance encounter with a waitress (Goldie Hawn), who overhears his story, and decides to check out the vacant house, and turns it into HER dreamhouse. The thing is, she's brilliant at spinning stories and lies off the top of her head, and is totally charming while doing so, and convinces everyone in town, including Martin's parents, that they're married;however, Martin has no clue till he comes over to try and sell the house. Upon discovering her there and what's happening, he has no choice but to play along and try his hand at spur-of-the-moment lying himself.Hawn and Martin work well in the leads, everyone else works well together, and the movie is pretty funny from start to finish. Hawn is perfect in her part. If you like comedies, you will like this one. You can probably guess the outcome midway thru due to formula, but you will have lots of fun along the way.** 1/2 out of ****

Architect Newton Davis (Steve Martin) built his dream house and proposes to Becky Metcalf (Dana Delany). The only problem is she says No. After an one night stand with waitress Gwen Phillips (Goldie Hawn), she cons her way into the empty dream house, and into the hearts of the town folks including Becky and Davis' parents. When Davis comes back to the house and finds Gwen, Davis is surprised that Becky now looks at him with a better light. So Davis agrees to continue with Gwen's deceptions if she would follow his scheme to get Becky back.It's just not that funny. Goldie Hawn may have been good for the role 10 years earlier. She would make all the lying cute. But it's just mostly sad and distasteful. I hate to say it, but she's too old to play the Manic Pixie Dream Girl. The scheming has some legs and is kinda cute, but it's hard to root for it. Dana Delany does a nice good girl and has one funny moment with Steve Martin. But it's just too little to make a difference.

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 ****