Look who's talking too is an o.k. movie,I would say its an absolute must see,but I wouldn't say it was the worst movie ever either,its about a five year old baby who talks like an adult in his head and thinks that his parents can understand him,but all the other baby's talk like that too and they can all understand each other and the main baby's parents (Dad played by John Travolta)decide to have another baby,and when the baby finds out he looks forward to it,and once the new baby comes out the baby is o.k. with it,but as the days go on the baby starts to get jealous,and when the moms brother comes to stays for a while the dad isn't o.k. with him keeping a gun with him and after the parents have an argument with each other they separate for a while,and meanwhile the baby decides that hes getting too old for diapers and decides to tries use the toilet and he tries to teach his little teacher how to walk.

OK, Joan Rivers ended part one of the "Look Who's Talking" trilogy, but somehow she had a voice transplant and turned into Roseanne Barr. Mikey has his own voice, but his adult thoughts still come from Bruce Willis. James and Molly are now married and Mikey's a happy toddler, that is until baby sister Julie comes along and they begin to have differing feelings on raising multiple children. Damon Wayans gets his own character as Mikey's pal, introducing him to Mr. Toilet Man (the voice of Mel Brooks), adding typical Brooks style humor into Amy Heckerling's witty script. Kirstie Alley's the voice of her womb and egg, and John Travolta's the voice of the sperm that conceives Roseanne. So life with James isn't what Molly had dreaded it would be, and they are truly happy trying to do their best for Mikey as they prepare to potty train them.

While they only crossed briefly in the first movie, Travolta and Olympia Dukakis get to work together and it's obviously not been an easy ride for him. How will adding another female in the mix be? Dukakis, thinking that Travolta is an irresponsible slob, arranges for Travolta to get a job as a private jet pilot which might make him get a higher salary but takes away his ability to have his freedom. The arrival of Molly's lazy, coddled brother (Elias Koteas) adds more problems, especially when he moves in with Travolta and Alley and turns their house upside down with his thoughtlessness. Willis, as Mikey, fantasizes about becoming protective older brother, but it is obvious that Julie is not going to make that easy.

Once again, Molly's possessed voice comes out as her labor pains start, and the birth scene results in Barr making it clear right from the start that she's gonna be in charge even though he's already vowed to boss her around for the next two years. Willis continues to make Mikey quite remarkable, but Barr's deadpan delivery, which worked for her sitcom, is a hindrance here. The baby playing Julie really doesn't give her much to work with either.

This paints a fair view of the problems that Travolta and Alley face (mainly thanks to her brother's presence) which leads to a fight that has Travolta walk out. It's obvious that the writing is meant to be fair to both genders and show the imperfections in humanity in general that has both Alley and Travolta making mistakes and facing up to their responsibility to make this marriage of opposites work out, and when mommy and daddy make amends, Mikey opens up the room to become loving, supportive and protective of his baby sister and for her to start to see him for something more than just that stupid 27 pound blob of brattiness, especially in the dramatic finale.

When Julie walks, they repeat the TriStar theme for her, and the tide begins to turn for the better, giving this bittersweet comedy/drama the happy ending it needs. I could have done without Koteas as Alley's self-centered brother and Gilbert Gottfried as the daycare director who is about as funny as Roseanne singing the national anthem. While the ending might come off as contrived, it serves a purpose, allowing the problems that make this closer to a drama than a screwball comedy to all be resolved in ways that will satisfy the audience.