Philosophers and artists may debate the existence and significance of fate in the lives of men and women, but it's hard to deny that fate plays a significant role in any number of godawful romantic comedies. It certainly plays an important role in the new direct-to-video romance Music From Another Room, a romantic-comedy/drama that is both swooningly romantic and swooningly moronic. Jude Law stars as an amiable young man who, when he was a 5-year-old Army brat, helped deliver a baby that would grow up to be Gretchen Mol. Twenty-five years later, Law is re-united with Mol, who has grown up to be the high-strung caretaker of her eccentric family and the fiancée of Jon Tenney, a wealthy, basically decent, slightly boring man who seems to take her for granted. Mol is a bit of a cold fish, but Law falls madly in love with her and vows to steal her away from Tenney. Will Law somehow overcome Mol's initial hostility toward him and rescue her from her sterile, perfect little life? Well, the film contains no talking, anthropomorphic bluebirds trying to unite the unlikely lovers, but that's pretty much its only concession to the realities of contemporary relationships. Perhaps the main reason director Charlie Peters draws so heavily on the notion of fate is that it provides a pretty good narrative cover for the manipulations and contrivances that drive his film. Law and Mol's characters don't seem to have anything in common, and they certainly don't have much chemistry, so Music From Another Room relies almost exclusively on the concept of fate to perpetuate the idea that there is something drawing the two together other than just the demands of the script and the genre. Law is an engaging actor, and Mol is both attractive and competent, but Music From Another Room adds up to little more than the sum of its contrivances.