Mother’s Day

Sandy has two children and an ex-husband (re) married to a woman younger than him. Disappointed and annoyed at having to share his children with a stranger, Sandy looking for work, confides in a friend and boards awkwardly a stranger at the supermarket. Bradley, a widower and father of two teenagers trying to rebuild their lives escaping attempts to accasarlo girlfriends and courtship of imprest avventrici in marital crisis. Despite the problems, Sandy and Bradley are destined to meet and not to be anymore. The world outside the meantime prepares to celebrate moms, those that they will no longer want to know, and those that they have never met. But reconciliation and recognitions are around the corner.
ensemble romantic comedy, Mother’s Day is the fully its blockbuster aesthetics: narrative but not harsh, triumphant exploitation stardom, centrifugal glazed citations. After Pretty Woman, Valentine’s Day, New Year’s Eve, Garry Marshall, a specialist of the genre, signing another parade of glowing hearts and a star gallery (Julia Roberts, Jennifer Aniston, Kate Hudson, Jason Sudeikis, Jennifer Garner , Hector Elizondo, Robert Pine), which provides a chance and a generous portion of love. In this round of the frame story is the ‘mother’s day’, the engine is the heart of the mothers who are waiting for the occasion to take stock of their lives and their relationships with children, husbands and parents. Because the mothers never cease to be the daughters of mothers who no longer seek or mothers who continue to search.
Against or abandoned, the protagonists of Marshall advance in life and to the happy ending never crack Frosted pleasure of a joyful comedy and illuminated by Jennifer Aniston, his beloved Rachel Green from Friends, of which the actress plays gaffes and pies, renewing an emotional contract with the public. Memorable star of television stardom, Aniston, pom-pom girl, alien telepathic or mother of the family, remains linked to the role that has proved embodying forever ‘girl’ next, the neighboring frivolous and lovable door to share willingly coffee and confidences.
Reconfirmed is also the brilliant photogenic Julia Roberts, pretty girl Garry Marshall who once again brings her on stage with dazzling strides and bare legs. Among the ‘mamas care’ (in the sense of cachet) and their towering presence creep faces and fresh talent Britt Robertson and Jack Whitehall to stand the wedding but then get married between a wit and a toast to the pub . Choral essence and extreme simplification of the romantic-familiar formula, Mother’s Day is held in Atlanta and promises an essentially bourgeois happiness. Between affectation and search for consensus, the new comedy by Marshall cliché mixture to distill the end a categorical and (s) comforting message: Mom there is only one. Whether you approve or disapprove, receive you or abandon you, you will want for themselves or to share, live only for you or is indifferent, the mother has always ‘good intentions’ and an unconditional love, at least until you look at the kind of life that He has dreamed for you. But we are still in a comedy by Garry Marshall, which converts the discomfort in bedlam and mothering in caricature, reconciling mother and children on a bandwagon without brakes.

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