Missy (Cynthia Nixon) is a pop artist who has great success with her family's cheesy home movies, copying them on video, and then adding wry commentary. She is having an affair with married man "Suit" (Jon Tenny). Her best friend Spaz (Andy Dick) can't seem to keep a relationship or art gig going, and has turned to catering to pay the bills. Afraid of commitment, Missy is happy with her affair with "Suit", provided he remains casual about their relationship. Add to the mix bi-sexual Brat (Timothy Olyphant) who has captured both Spaz and Missy's eyes. Missy and Brat are attracted to each other, but is she willing to ruin a long-term friendship for a one night stand? After all, her artistic career is flourishing, her NYC loft is fabulous, and her relationship with a married man is totally uncomplicated. Brat, who's sweet, genuine and shares her fondness for 1970s sitcoms, is also dating her pal Spaz. When Missy and Brat unexpectedly fall for each other, will she lose her identity and her best friend? As soon as Missy spies the naked Brat sleeping in her gay friend's bed and her eyes betray her interest, we know that they will be together by the end of the film. The final confrontation scene in the diner with a commenting chorus of patrons is meant to be hilarious. But it's too far-fetched and contrived, and there can be no romantic movie if one doesn't care about the characters involved.
This film tells us that any bi-sexual man can be "cured" by the love of a good woman. Yet even accepting this preposterous and insulting premise, it is inconceivable that Brat would have Spaz's homely, effeminate character as a regular sex-partner or fall in love with the irritating Missy. There is little chemistry between Missy and either man. The most interesting thing in this film is the title, derived from "Alice in Wonderland", which plays a key role in the film. Basically it's just another pretentious low budget movie released under the guise of independent film making. John Hill composed the music, and Douglas Carter Beane wrote the screemplay from his own stage play. Don Scardino directed.
