In the tradition of Moonstruck, first-time writer/director Theresa Connelly strives to limn a wacky yet passionate ethnic clan. What she achieves instead is a family portrait of crudely etched stereotypes set to accordion music. Worst of all is the film's risible innuendo: as Hala makes love to a doltish cop (Adam Trese), Connelly cuts to a traffic light flashing red, then yellow (Stop! Caution!). Between the overwrought symbolism and the leaden dialogue, this saga settles more heavily than Jadzia's pirogi.