Raising Helen (which I saw at a special Mother's Day sneak preview with my lovely wife) is the newest outing from Pretty Woman director Garry Marshall. I have to confess that I'll always have a certain fondness for Mr. Marshall, after all, he was largely responsible for brining us Happy Days (a show I'm still a fan of). Yet, of his feature film resume, he's only made one picture that I really loved - the underrated Nothing In Common, (a small gem that features a young Tom Hanks and a stellar turn by Jackie Gleason in a rare dramatic role).True, Marshall has made a number of noteworthy films (The Flamingo Kid, Frankie and Johnny, and Overboard - for example), but mostly his efforts have been either overrated (Pretty Woman, Runaway Bride) or downright awful (Dear God, Exit to Eden).

It's obviously too early to tell if Raising Helen is going to be overrated, but it certainly isn't awful. A fact that can be easily attributed to a very likable cast, (most notably Kate Hudson) whose infectious smile once again lights up the screen.

In this new picture, Hudson plays Helen Bradley, a free-spirited modeling agent, whose life is suddenly turned upside down as a result of a tragic accident. As a consequence of this most unexpected turn of events, Helen's carefree existence is all-at-once changed into one of overwhelming responsibility as she is awarded custody of her older sister's children. Helen's initial reaction is one of shock, and disbelief as she can't understand why these precocious kids aren't placed in the care of her older, more responsible (and currently pregnant) sister Jenny (played by Joan Cusack), a woman with children of her own and alot more experience in the role of parent. The logistics notwithstanding, Helen takes the children into her home, and soon realizes the tremendous difference between being a parent and being a friend (the doting, gift-lavishing aunt that she had once been).

Raising Helen is predictably mechanical. The plot devices that move the story from point A to point B to point C are obvious to say the least. I also didn't see much of a transformation in Helen. She's sort of a sweet, young woman from beginning to end; and while the story seems to be suggesting that perhaps she isn't mature and responsible enough to be a parent, I never really saw that. She just lacked the common sense and parental wisdom that comes with experience. When we get to the inevitable moment in the picture when Helen makes the "change," it feels pretty insignificant. All she does is bark an order at another central character in the film. (See she's ready to be a parent now, look how she takes charge).

Still, for all the obvious moments that weaken this film, there are winning touches that surprised me. There were a few things that I expected to occur in Raising Helen that didn't and I found Marshall's uncharacteristic restraint more than welcome.

Again, Hudson is extremely appealing and the camera just loves her to death. While this isn't a role of enormous depth, Hudson brings plenty of charm to the table, and her emotional scenes ring with sincerity. I also enjoyed John Corbett, even if it isn't much more than a warmed-over version of his romantic lead in My Big Fat Greek Wedding. As Pastor Dan, Corbett delivers some of the film's funniest moments - including a scene in which he utters the line: "I'm a sexy servant of God." Once again, my hat is off to the dependable Joan Cusack. She takes her character (a role she could have phoned in) and raises it to a higher level. I absolutely love her comic rhythm. Her tightly wound Jenny was reminiscent of the role she played in School of Rock, only here, she's an over-protective mother instead of a school principle.

Like the screenplay, the younger children in the picture are rather mechanical - which is no fault of their own, but rather the writing. The oldest girl Audrey (played by Normal's Hayden Panettiere) has some nice moments as a teenager dealing with adolescent angst. She reminded me a little of Jean Lousia Kelly's Tia in John Hughes's Uncle Buck, only not as snotty. Finally, Garry Marshall regular Hector Elizondo has a charming, but brief supporting role as the owner of a used car dealership. The part is near irrelevant but he's so likable, it makes perfect sense that Marshall included him.

In some ways, this movie reminded me of Jersey Girl. Both pictures feature the loss of a parent as the central premise of the plot, but I gave the Kevin Smith picture a higher rating and that's because I was much more entertained by Smith's colorful dialogue.

Raising Helen isn't particularly realistic. I never really bought the idea that the children would be left in Helen's care. I also thought that Audrey's trials felt a little too processed. And don't get me started on the sticky-sweet monologue delivered at the end of the picture. Still, there is plenty of heart to be found here. The bond that develops between Helen and Pastor Dan is sweet (if a tad rushed), and there's a terrific scene in which Helen bumps into an ex-boyfriend at a restaurant. And as I already stated, Hudson really is a likable screen presence as are most of the cast. As implausible, sappy and obvious as much of this picture is, it worked better for me than Hudson's How to Lose a Guy in Ten Days, and it's one heck of a lot better than it's romantic-comedy competition - Laws of Attraction.

As far as "Raising" pictures go, Raising Helen isn't nearly as entertaining as Raising Arizona, but it sure beats the hell out of Raising Cain. Happy Mother's Day everyone.