Having never heard of this movie when it was in general release (if it ever was) it seemed a good Saturday evening diversion type story. Once the film begins and it is apparent that the director is P.J. Hogan who has created such fun and sensitive stories as MURIEL'S WEDDING and MY BEST FRIEND'S WEDDING, then the gentle humor and touching messages are welcome and anticipated. With a cast that includes sterling performances by the always excellent Kathy Bates, Rupert Everett, Jonathan Pryce, and Lynn Redgrave, the impact is one of polished comedy and sincere pathos blended as well as Hogan has done in the past. Hogan likes to touch on issues such as 'different' people, be those differences as in gender identity, physical stature ( small person Meredith Eaton is a beautiful and gifted actress), or social mores. Briefly, Kathy Bates plays a housewife who fantasizes an affair with a popular British singer (Jonathan Pryce - who not only acts well but is given the opportunity to share his significant vocal talents in person and on the soundtrack of the film). Her husband of 25 years (Dan Ackroyd) announces to her that their marriage is over because Bates is boring. That same day her idol is killed and she decides to go to England for the funeral! Once there she intrudes into the house of her fantasy man only to discover that he was gay and has a lover of 10 years (Rupert Everett) who is being ostracized by the singers' family. Persistance and happenstance throw these two together and the resultant bi-continental declaration for revenge of the death of their shared hero (with a lot of help form Bates' daughter-in-law Meredith Eaton) forms the bulk of the tale. Along the way they encounter the real life Julie Andrews, Sally Jessy Raphael, and Barry Manilow in what could have been a pushed overindulgence, but Hogan keeps the tempo down so that these guests appearances maintain the jolly mood of this fluffy but warmly entertaining movie. Definitely a feel good film!

The film isn't perfect by any means but despite this it is very fun and amusing to watch. I am the first one to agree that Victor Fox isn't really that attractive and his music and style are pretty cheesy. I also agree that the film has some odd distractions and some scenes don't work well. So what? If it makes you smile and you enjoy it who cares? Does every film have to make sense? Does every film have to be perfect? No. A person could get razed admitting that they love this film. Again, so what? It's got lovable characters, it's well shot, the acting is mostly good, it never becomes too maudlin or dramatic, it's quirky. Look at how many people love I Dream of Jeannie. Is it perfect? Heck no! And while this is very different, I say check it out and you'll be in a good mood after you see it.

I think if I gave a summary of the film people may not watch it !! A middle aged woman goes to her favourite singer's funeral and the sets out to find his killer .However , with a cast including the remarkable Kathy Bates , Rupert Everett , Richard Briars , Dan Ackroyd and Jonathan Pryce , it's a must-see . Kathy Bates acts with her face and has the viewer crying for her , laughing with her and cheering her on . The show is stolen, though by the beautiful and remarkable actress Meredith Eaton who plays Kathy Bates daughter in law .Masterclass !!! The essence of this film is that we can watch it over and over and still laugh and this film not only succeeds there but I see something else in it every time I watch it .Enjoy !!!!

An utter mess of a movie – practically nothing in the script works. The basic premise, trumpeted from the opening shot, of Jonathan Pryce as a superstar-heartthrob pop singer is simply unconvincing (especially as his voice is notably unnotable), the directing is schizophrenic (leaden one minute and frantic the next) and the movie is ridiculously over-long (the exposition alone takes 30 minutes before the plot – or Rupert Everett – is even revealed) – but the performances of Bates and Everett are simply wonderful, Eaton is eminently memorable (although she relies far too much on screaming, undoubtedly dictated by the director, for comic effect), and Aykroyd is terrifically understated and sympathetic.It feels like two different scripts, torn up, thrown into a box and shaken, but the chemistry between the two leads is palpable and it's heartening to see Everett actually act again (he's been coasting on charm for years). Redgrave has her moments too, but the only scenes that really satisfy, as sure-handed comedy film-making, are the two cameo appearances by Julie Andrews (diabolically skewering her own image) and the DON'T LOOK NOW red raincoat send-ups, which are worthy of AIRPLANE! – leading one to think that it can't be a co-incidence that this movie was co-produced by Jerry Zucker, who seems to have managed to get one or two licks in of his own.