Life as we know it an unusual title

Hayes MacArthur, Christine Hendricks, Melvin McCarthy.
Director: Greg Berlanti
Cinema: Eastgate
Running time: 115 minutes
Type of film: Romance in Southern America
Set in Atlanta, the vibrant capital of the State of Georgia, I found it difficult, but tempting, to remind myself that here was the setting of the heart of the American Civil War, which, in the late 19th century, set the country on the democratic path it currently pursues.
Little indeed remains in this Southern capital to remind one of its chaotic history, and in the film the feeling is clearly given that we are in for a very modern tale as up to date as today’s page on the calendar.
Holly (Katherine Heigl, born in the nation’s capital in 1978) and Frankie (Josh Duhamel, born in the nation’s Far West in 1972) are typical of America’s unmarried in that they seek via their computer companions, who will fulfil their dreams and aspirations. In their case, when they meet face to face for their first date, it is apparent that they have “failed to do their homework.”
She is dolled up for a nightclub; he arrives on a motorcycle, appropriately attired. It looks like a disaster from the outset. And, in fact, the same can be said about the film itself, promising little but ultimately delivering a great deal. Extremely attractive individuals, they are drawn to each other by that fact alone.
But soon they and we, the audience are led into their personalities and individualism. And, won over, we stay the course.
And this course includes their receiving a five-month old little girl, which she is told is his. And she accepts his child as she has come to accept him.
Experience has told me that many viewers of this film may quietly feel that what follows is in a way unfair to the principals. The baby steals the film!
Played in ensuing scenes as the months pass by three sisters of the same family, I predict that many in the audience will find their interest in the plot to wane.
As does the foster parents’ interest in each other. Tested seriously when the child needs medical attention, and foster mother meets the very attractive doctor.
Played by Josh Lucas, it appeared predictable and inevitable that our foster father would become history.
But no it is revealed that he is not, in fact, the child’s father. It will appear to the film’s viewer that he is then seeing a rewind of what has come before with significantly enough changes to make him doner if he is still seeing the same film.
At this point it is suggested to the viewer that he ponders the unusual and enigmatic title of the film and consider the real possibility that he has been seduced by this film’s array of false pretensions.