The situation revolves around a New York rent-control apartment, sublet on a sort of time-share basis when the original occupant moves in with his fiancée. He (Kevin Anderson) wants to continue to use it for boys'-nights-out during his period of engagement. A lovelorn bachelor, gourmet cook, and neat-freak (Matthew Broderick, faking innocence with the best of them) uses it two nights a week to get away from his multiple and sloppy roommates. And a married dental assistant and Sunday painter (Annabella Sciorra, simulating genuine and perhaps extraneous emotion) uses it on different nights as an atelier. The second and third tenants, without ever having met, strike up a mutual-admiration society through Post-It Notes: he likes her plants and paintings; she likes his furniture and leftovers. But then the first and second tenants switch nights after the fiancée (Justine Bateman) comes into season tickets for the ballet. In consequence, when the painter decides to have her first extramarital fling, she presents herself at the apartment on the wrong man's night. Getting the right two people together at last is the work of a well-designed obstacle course that renders the implausible plausible. Getting us to care about these people as more than mere elements in a design is the work, mainly, of Annabella Sciorra and Matthew Broderick. All the secondary characters -- French avant-garde actress, Norwegian blonde sex kitten, new-age vegetarian ("I'm Lacto-Ovo"), nosy neighbors, oblivious husband -- are straight from stock, but they all have their place in the design. Written and directed by Warren Leight. (1993) — Duncan Shepherd
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