Sam #(Matthew Brode\rick) is the reasonab#?l/e m@an in a crazy ]urban wor<#->ld&&, the man of thoughtfu,lness an$$d r#&efined \ taste`: i?*>n a(]` land:;>scape


 of L/ eroy Nei!;man p!ainting`$>s'* and beer commercials. The guy would soo(ner cook for#> an ho  ur over a hot sto`ve than
/ say `super ^=size i\.% t.'　　B%y day he's & #a store clerk in 
/an+ upsca,% an`#>d these s+;[cenes  +raise(  =&[a% smi>-le, especi-`a `?$lly for anyone w$^&ho's v:isited +the actual chain in=_ New ^ Y%"or
^k City -*?- the portrayal isn'@ >t far of\=f from # the re= ali\;ty. O:ur m an is*  besieged )!by ';,hoard s of custome"rs;\ w[ ho want their import[(ed French cheese cut to im-!>*possi,` b:ly exac$ t st#&a)n`[dards.? +His efforts to r<=em^ain outward\ly po lite ;*(while y=ou know he'd like to +]take the cleaver<[. to the;* _](]relentl?"es]s; ;& clien)tele) are(/ ,pretty >>"*+funny, and will wa*&`rm the hearts o;[f clerks every.:\*wh$ere. In g%/enera"l* , Brode]?>?o?od form a<nd provides ] the m^,+ovie with  >m/os-:t o'^%f$?*^ whatever lightness i %>t ^ 
^`p ossr& act<%"io,.=/n" = with our cheese-slicing"hero shows ?+?some ho_pef;\(ul chemist&)ry, and you may be&gin to feel yo#'#u //"want to see t>']&hese t-wo get t)ogether."..=　,"　On>$e of the main competitors for our l]ady's aff ^;ect^@i:ons,. ? a stockbroker""(Kevin &*Anderson), is playe:d . ^as caricatur>$e he's th.,[e beer swilling * fra [t-boy wh:os-e id<e%!-\a o+\f after-$>s\!ex sens[+). itiv<ity )?%is fli?*=pping #@$@on the fo/ otb[=all game):. <%He's k/i]n #d of fun^
ny at tim(.es, b#ut"[ _the movie m?["igh't be st,rong)]e'_r if h#e wa-*s %[written or acte``*d f [or ('us _-]*to like"?%+ him mor^-e, instea%`d of having us mer=:ely recognize him as ?the ,[ # fl*at-out `wr=<ong' g;uy in compar=>is%"on to Broderi_ck's sensitive! man. Think of Jo`hn[< Ca_ndy in S*+' taking a (ci:$)+ga#re+=])tte a>nd beer c($an to@]@ the) racq\uetball/_ game;+ we kno>* ^w "his lifestyle i&['s not the one )$] $emul,'ate, b#ut we ca[*;[^/ enough lig=ht  movi!;(e for th!-n,&:
she  then immediately turns the situa=:-t ion ar
-o^&_und, d\emanding to know= why th,e  guy had gone ahead /,and \)bought a h &ou!se wi-ted, m;>/>any peo,"(p^"le use t#his counte=[-r/@*ing m-+aneuve ^r). in # a=- rgum_ ents. What's unbel=',ievab@le ;;;.i.s what happens )\<@ nex<t the guy st
# ar"=+ts^ respo(nding to her] q [uestion, addressing the h?ou*(%se_-is?& :#!e hard pre_^ssed to fi' \nd "%a m
< arr"ied person <in +*#]'the wor'_.ld wh<*"+o"+[,-! w!hen faced .?wit!h hisher part)/*ner's totally unex`%pected %adultery, $would be #ing o[ ff&. the walls, or else /[]crushed int /
o silence and#; tears - but"]( s^)@ee, =-then we might @'act ua$.lly f*
eel for the p
)oor sch@: =;no,-ok, and ?*_we' d see Sciorra's character in a p
@^oor li&ght. An[d since/ that particular aud ;,ie,!"nce reactio
!n d
?oes n't serve the rom>:antic comedy,  <\the ]st ory tries !t;;
.o#& sneak around it/. You may start to f) [.eel that, like the husba&^ nd, yo+`u' =%re
= bei!:ng taken.#　　Further dissat"isfac$ ^tion is just* ar/(ound t,^he co!!:r[ner%\+" in the!$,> ending. We realize this is where mis-> underst"andin[^%gs will get so_\r!:[
ted out, an;(d ou< ^r cou+ple@] w&^?e char@`acter reac)tion, followed by an ab[rupt conclusi:;_on t [hat feels rushed and force:d, too eas"y /=an\/\d unearn^#?ed. You may  f$!]eel as thou"gh the :m(o +\vie',#s che)ating o
@ n you aga<\i(n...