A common friend's sudden death brings three men, married with children, to reconsider their lives and ultimately leave together. But mindless enthusiasm for regained freedom will be ... See full summary »
Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
Ghost is an idealogical musician who would rather play his blues in the park to the birds than compromise himself. However, when he meets and falls in love with beautiful singer, Jess ... See full summary »
Psychologist Dr. Matthew Clark is the head of the Crawthorne State Training Institute, one of the first boarding schools for developmentally challenged children. Dr. Clark is sympathetic ... See full summary »
Richard Forst has grown old. One night, he leaves his wife for Jeannie Rapp, a young woman who does not like friendship. Meanwhile, Richard's wife, Maria, is seduced by Chet, a kind young man from Detroit... A film about the meaningless of life for a certain kind of wealthy middle-aged people. Written by
Probably one of the first films in cinema history to talk openly about cunnilingus. See more »
What do you want to drink?
Well, whatever it is, I want it on the rocks, straight and dirty, because I feel very very bitchy tonight.
Well, I feel very, very bitchy too. That makes two of us.
See more »
Exceptional performances, but film is fatuous, irritating, and occasionally meandering...
In reviewing writer-director John Cassavetes' cinema verite-styled "Faces" for the New Yorker, film critic Pauline Kael was more interested in the theater audience's reaction to the picture than the picture itself. She noted that everyone in the crowd seemed to accept this "bad office party" with the utmost seriousness, as if what they were witnessing was extremely personal and important. "Faces" is probably still quite important to revolutionary filmmakers, but it doesn't feel very personal. Cassavetes views a sad, crumbling, upper-class marriage between a businessman and a housewife in Los Angeles with blank eyes. The conversation between the two is vapid and disconnected--and later, when the couple separates and he finds company with a prostitute while she brings home a gigolo, the dialogue remains flat and monotonous. Is Cassavetes trying to say that some marriages become zombie-fied to the point where no amount of conversation breaks through? The wife overdoses on pills and is rescued by the stud, but when the husband comes back and sees the bottle and the mess in the bathroom, he doesn't even ask her about it. The film is stultified by its need to be raw and uncompromising in an arty fashion (with Mount Rushmore-like close-ups of the four principals, a gambit which gets tiresome). Flickers of truth permeate the production, though it isn't very well-shot or lighted, and the editing (purposefully) allows scenes to ramble on passed their emotional peak. ** from ****
6 of 7 people found this review helpful.
Was this review helpful to you?