Certes, la première demi-heure sent un peu le mélo cramé. Mais attendez que l'hyper charismatique Aaron Eckhart s'empare des fourneaux et remette le gaz. Le film opère alors progressivement un glissement de terrain heureux vers la comédie romantique. Résultat: un honnête plat du jour qui se mange sans faim, de préférence avec deux cuillères.

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Le film, en effet, est léger. Très léger. Sympathique et de bon goût, certes, mais artistiquement manufacturé, psychologiquement conventionnel, destiné en somme à faire briller tout le monde sauf Hicks lui-même.

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The story is entertaining and avoids excessive sentimentality. Its best asset is the trio of genial performances by Zeta-Jones, Eckhart and Breslin, who proves she was no one-hit wonder as the child star of LITTLE MISS SUNSHINE. (...) Though it plays out predictably, the film has such a glossy appeal that its faults are easy to overlook. It is sumptuously photographed, particularly in capturing the culinary arts (...), as well as richly textured in its production design.

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The cynic would like to write this off as empty grown-up hooey, Baby Boom without an ounce of bang. But you can't do it, because the thing's so charming and frothy and delightful and sentimental and beautifully shot and well-acted and sincere that it takes a good couple of hours before you start craving real nourishment.

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The emotional details of Kate, Nick and Zoe’s journey are surprising, honest and life-size, and the film’s determination to present their predicament sympathetically, without appealing to retrograde ideals of femininity and motherhood, makes it notable, and in some ways unique.

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