
How do siblings deal with each other in their targets? This is the question tackled in this movie. Blue-collared Mickey drives a New York taxicab since the breakup with his promiscuous ex-fiancée Heather two years ago. His younger, white-collared brother, Francis, cannot let Mickey forget the tragedy of the "hairy ass": (Mickey's image of his apartment floor of the guy having sex with Heather after walking in on them). Finding relief in driving his cab, Mickey meets an art s... (Full plot summary below)
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How do siblings deal with each other in their targets? This is the question tackled in this movie. Blue-collared Mickey drives a New York taxicab since the breakup with his promiscuous ex-fiancée Heather two years ago. His younger, white-collared brother, Francis, cannot let Mickey forget the tragedy of the "hairy ass": (Mickey's image of his apartment floor of the guy having sex with Heather after walking in on them). Finding relief in driving his cab, Mickey meets an art student named Hope whom he marries after knowing her for only 24 hours. Mickey also meets his old lover Heather, and learns more about life itself as taxi fares in the course of a summer. Francis, a young Wall Street corporate raider, unhappy in his marriage to Renee and led by his infidelity, continues his shots at Mickey throughout the film, only to find himself a plot device that lends humor and lessons about marriage and brotherhood when he meets and starts an dangerous affair with Heather, despite Mickey's warnings that Heather is a gold-digging nymphomaniac who goes through sexual partners as often as a person changes clothes. Given Mickey's frame of reference on the past and his bride of 24 hours, it is no wonder that the two brothers, along with their father, an ego-eccentric and emotionally bereft bigot and a hard-core chauvinist who does not allow women aboard his fishing boat, learn about the strength of women, and their own lives.
Leave your thoughts about She's the One.
| Globe and MailRick GroenThis time, he takes no great risks, nor does he break new ground in the 20-something serial-small-talk genre. (Currently, Nicole Holofcener's sprightly "Walking and Talking" does it better.) But Burns emphatically avoids sophomore slump with an inviting, ruefully funny film that lives up to his initial promise. |
| Philadelphia City PaperCynthia FuchsThe emotional development of the boys is framed and instigated by revelations embodied by the girls. |
| VarietyLeonard KladyThere's charm to burn in "She's the One," Ed Burns' sophomore romantic comedy. Very much in the vein of his award-winning "The Brothers McMullen," outing is a decided step forward artistically and technically. Endowed with a refreshing honesty and poignancy, the film should score well with audiences and rack up upbeat theatrical returns. |
| EmanuelLevy.ComEmanuel LevyA disappointing second feature from Ed Burns, the director of The Brothers McMullen. |
| Washington PostDesson ThomsonShe’s the One, Edward Burns’s swift follow up to "The Brothers McMullen," may not have the primitive charm of its predecessor, but it retains the humorous spirit. It’s also graced with returning cast-members Burns, Mike McGlone and Maxine Bahns, whose bright comic interplay makes an enjoyable family reunion. |
| Tampa Bay TimesSteve PersallIt all comes down to what Francis Fitzpatrick considers the division of life: those people who are miserable and those who are dissatisfied. She's the One has enough fine moments to keep an audience out of the first category. Fans of Burns' first film will fit squarely in the second. |
| JoBlo's Movie EmporiumJoBloNinety minutes and nobody got hurt...just the way I like it. |
| Boxoffice MagazineKim WilliamsonHow well does Burns tread water? On the whole, acceptably. |
| Capital Times (Madison, WI)Rob ThomasBurns doesn't let a larger budget and recognizable actors dilute his style. |
| Urban CinefileUrban Cinefile CriticsA sweet old-fashioned piece about family and relationships. |