Film
Housesitter
- Comedy
- Light-hearted
A con artist squats in a lonely architect's house and poses as his wife, upending his quiet life and small-town reputation. Steve Martin and Goldie Hawn play off each other's rhythms with genuine warmth beneath the chaos. It's a '90s romantic comedy that actually likes its characters—funny without meanness, sweet without saccharine. Perfect if you want something that feels like a hug.
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While You Were Sleeping1995
Sandra Bullock charmed everyone by playing a woman who fakes a relationship with a comatose stranger. Same DNA as Housesitter—deception born from loneliness, a small town that gossips, and genuine affection blooming underneath the lie.
But It trades in sentiment pretty openly. If you're allergic to earnestness or prefer your romances with an edge, this might feel a touch too sincere.

Splash1984
Tom Hanks meets a mermaid and lies about who she is to everyone he knows. Same magical-realism-lite tone: a ridiculous premise treated with surprising emotional intelligence. The chemistry between leads matters more than logic.
But Dated effects and a vibe that's very specifically 1980s. Some of the comedy around the mermaid's strangeness plays awkwardly now.

Overboard1987
Goldie Hawn again, this time convinced she's a carpenter's wife after amnesia. Screwball energy, real tenderness between the leads, and a woman with agency even while she's being lied to. Sharp and silly.
But The amnesia plot is contrived even for a rom-com. And there's something uncomfortable about someone's identity being rewritten without consent, even played for laughs.

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The wildcard
Something you would not have found on your own.
3 Men and a Baby1987
Both find genuine emotion in an artificial domestic setup. Both let characters grow through proximity and care, not despite the premise but because of it.
Three bachelors raise an abandoned infant. It shouldn't work—premise is silly, the film should be disposable—but it's warm, funny, and genuinely moving about caregiving and family. Tom Selleck, Steve Guttenberg, and Ted Danson have beautiful chemistry. The tone sits in the same sweet spot as Housesitter: high-concept without cynicism.
But The baby-movie-as-plot-engine wears thin. Some of the humour is pure '80s fluff. If you need sophistication, you won't find it here.

More like this (8)
Roxanne1987
Steve Martin adapts Cyrano de Bergerac into a small-town comedy. Martin's wit is unmatched, the romance builds genuinely, and there's real melancholy underneath the jokes. He's playing a version of every character he plays—brilliant and lonely.
But The plotting is fairly straightforward once you see where it's going. Some of the wordplay will land better if you're already a Martin fan.

It Could Happen to You1994
Nicolas Cage and Rosie Perez in a fairy-tale romance about a cop who promises a waitress half his lottery winnings. Earnest, whimsical, surprisingly moving. The city itself is almost another character.
But Unapologetically sentimental. The plot is a fantasy and it doesn't pretend otherwise. If you need grounding or irony, look elsewhere.

Moonstruck1987
Cher, Nicolas Cage, and an ensemble of beautiful weirdos in a love story that respects its characters' complexity. Funny, warm, deeply romantic without ever being cloying. A genuine masterpiece of the rom-com form.
But Heavy on the Italian-American family dynamics and magic-realism elements. The tone is strange—if you need consistent genre signals, it might feel uneven.

You've Got Mail1998
Tom Hanks and Meg Ryan as rivals who fall for each other online without knowing who they are. Charming, witty, with real chemistry. The New York setting is gorgeous and the banter actually sparkles.
But It's very 1998—the internet politics and corporate messaging feel dated. And some of the gender dynamics are patronizing in retrospect.

Tootsie1982
Dustin Hoffman, Jessica Lange, and a premise (he disguises himself as a woman) that could be offensive but becomes genuinely romantic and funny. It's smarter than it looks and the chemistry is real.
But The central conceit—a man impersonating a woman—is risky ground. Some of the jokes age poorly. It's also quite long at 116 minutes.

French Kiss1995
Meg Ryan and Kevin Kline in Paris, with misdirection, actual stakes, and a romance that earns its ending. Lighter than the premise suggests, genuinely enjoyable.
But France-as-backdrop can feel like tourism. The plot hinges on contrivance, and the supporting characters are thin.

Midnight Run1988
Both understand that the best romantic comedies aren't really about love at first sight—they're about two people learning to live in the same house (literal or metaphorical) and discovering they actually like each other.
Robert De Niro and Charles Grodin in a buddy road movie disguised as a bounty-hunter thriller. Loose, funny, deeply felt. The two leads bicker and bond in a way that feels lived-in. It's not a romance, but it understands that relationships—all kinds—require vulnerability and trust to work.
But It's very '80s action-comedy in tone. If you want a tight plot, this meanders pleasantly but aimlessly. Some viewers find the buddy-cop structure worn out.

Local Hero1983
Like Housesitter, it's about an outsider moving through a small town and disrupting its rhythms—but here the disruption is reciprocal. Both films believe that small towns and their inhabitants deserve tenderness, not mockery.
Bill Forsyth's Scottish gem about an American oil executive sent to a small coastal village to acquire land. It looks like a fish-out-of-water comedy but becomes something much quieter: a meditation on home, belonging, and what we actually want. Gentle, strange, deeply kind. Peter Riegert is excellent.
But Nothing much happens by conventional standards. It's paced like a folk song, not a three-act structure. Some find it too slow or too whimsical.

People
Cast
Steve MartinNewton Davis
Goldie HawnGwen Phillips
Dana DelanyBecky Metcalf
Julie HarrisEdna Davis
Donald MoffatGeorge Davis
Peter MacNicolMarty
Richard B. ShullRalph
Laurel CroninMary
Roy CooperWinston Moseby
Christopher DurangReverend Lipton
Heywood Hale BrounTravis Keller
Cherry JonesPatty
Directing
- Frank OzDirector
Writing
- Mark SteinScreenplay
- Brian GrazerStory
- Mark SteinStory
Production
- Karen Kehela SherwoodAssociate Producer
- Michelle WrightAssociate Producer
- John S. LyonsCasting
- Bernard WilliamsExecutive Producer
- Brian GrazerProducer
- Bernard WilliamsUnit Production Manager