In Her Shoes is a 2005 American romantic comedy-drama film directed by Curtis Hanson and written by Susannah Grant, based on the 2002 novel of the same name by Jennifer Weiner.

In Her Shoes premiered at the 2005 Toronto International Film Festival, and was released in the United States on October 7, 2005, by 20th Century Fox.

Sisters Maggie and Rose Feller are very different, raised by their father, Michael, and their stepmother Sydelle, after their mother, Caroline, died in a car accident.

A free spirit, Maggie can't hold a steady job (partly due to her dyslexia) and turns to alcohol and men for emotional and financial support.

A few days before, while looking through her father's desk for money, Maggie discovered a bundle of old greeting cards for her and Rose, containing cash, from their "estranged" grandmother Ella.

After Maggie asks her to finance an acting career, Ella proposes to match her salary if she accepts a job with the assisted living section of the retirement community.

She confronts her father about hiding their grandmother from her and Maggie, and he reluctantly explains Ella had not approved of Caroline having children because of her mental illness and tendency to neglect her medication, and had blamed him for her death.

Rex Reed in The New York Observer calls In Her Shoes "pure joy" and "a movie to cherish", arguing that Shirley MacLaine has "found her finest role since the Oscar-winning Terms of Endearment ... funny and poignant, she uses abundant humanity and smart psychology to great advantage, lending her knowledge to the other actors generously.

The emotional payoff at the end is earned, not because we see it coming as the inevitable outcome of the plot, but because it arrives out of the blue and yet, once we think about it, makes perfect sense.

"[6] Mick LaSalle of the San Francisco Chronicle argues, on the other hand, that the film "is almost a true statement, almost an honest rendering of a sibling relationship and almost not a sentimental Hallmark card of a movie.

"[7] Carino Chocano of the Los Angeles Times concurred, calling the film "a curious movie, hovering for upward of two hours between light and dark, truth and fake uplift, menace and mollycoddling.