Dark satire in which the token black man on the executive board of an advertising firm is accidentally put in charge. Renaming the business "Truth and Soul, Inc.", he replaces the tight ...
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Downey takes his camera and microphone onto the streets (and into some bedrooms) for a look at Manhattan's singles scene of the late sixties. Of course, that's not all: No More Excuses cuts... See full summary »
Robert Downey Sr.
Robert Downey Sr.,
An experimental, ludicrous, plotless, absurd, surreal comedy. It is seemingly intentionally impossible to understand. It leaps from scene to scene, world to world, with recurring names and ... See full summary »
Robert Downey Sr.
A comic feature film about an underachieving writer who sets out to write his masterpiece, but is confounded when one of its characters steps into his real life and introduces him to a life of sin and corruption.
In an era when Dick, Jane, and discipline ruled America's schools, Albert Cullum allowed Shakespeare, Sophocles, and Shaw to reign in his fifth grade public school classroom. Through the ... See full summary »
Dark satire in which the token black man on the executive board of an advertising firm is accidentally put in charge. Renaming the business "Truth and Soul, Inc.", he replaces the tight regime of monied white ad men with his militant brothers. Soon afterwards, however, the power that comes with its position takes its toll on Putney... Written by
Doug Mosurak <email@example.com>
Louis C.K. considers it his favourite film. See more »
Mr. Victrola Cola:
I got this great window cleaner. Cleans good and doesn't streak. Smells bad, though. Cleans good, but smells bad.
As a window cleaner, forget it. Put soybeans in it and market it as a soft drink in the ghetto. We'll put a picture of a rhythm and blues singer on the front and call it Victrola Cola.
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As the credit for Robert Downey Sr. scrolls up the screen, the words "(a prince)" appear next to his name. See more »
I thought I might be disappointed viewing this film again after so many years. On the contrary, I was more impressed now than in my callow youth with its honesty and brave humour. In 1969, the transition among African-American groups from a predominant policy of conciliation and integration to one of confrontation and self-determination was still quite new, and more than a little controversial. It took courage and finesse to portray both the Establishment and the Anti-establishment as the caricatures they often closely approximated in real life. Special mention should be made of Arnold Johnson's performance: he successfully avoided having his character lapse into either sociopathy or buffoonery. I'd rather watch this than "To Sir With Love" any old day!
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