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Alex just shows up at the hospital, Isabel says that there’s no more baby, and then he’s back home in New York City (he was only in Las Vegas to oversee the construction of a nightclub) before you can say “sign these divorce papers on the dotted line.” I won’t go into any more detail, but suffice to say that Alex and Isabel realize they’re miserable without one another. They have the big clichéd reunion during a rainstorm atop the Hoover Dam (a recurring motif in the film because hydropower is gets lost in the endless sea of '90s romantic comedies because there’s just nothing that grabs you and keeps you invested in the characters and their story. There’s bound to be cultural tension to drive the plot forward, but did the writers have to go there? Alex eventually clears up the misconception, but the situation worsens again when Alex and Isabel’s parents meet (during a Cinco de Mayo celebration) and have an incredibly tense face-off about raising the baby Catholic versus Presbyterian. A white New-Yorker falls in love with a Mexican girl.Well, if they are all like Salma Hayek, I would not be at all surprised. But sociological barriers - in the Mexican family also, with a wonderful interpretation here by Angelina Calderón Torres - produce the logical but hypocritical obstacles which still persist in what for me should be classified as erstwhile societies.To this day, it remains entirely unclear how it came to exist. So this is a paraphrased version of the conversation I imagine birthed unto the world.
Sparks fly and cultures collide in this romantic comedy about a casual night of passion that turns into the love of a lifetime.Alex Whitman is a New Yorker sent to Las Vegas to oversee a construction project.