An enigmatic young woman has been murdered in a small California coast town. The investigation by the local sheriff uncovers a complex web of relationships centering on the victim; the ... See full summary »
Paris...at the turn of the century. Inspector Vidocq investigates a series of unexplained murders at a Grand Guignol-type theatre...where the players have suddenly become real-life victims. Based on the story by Edgar Allan Poe.
Young and inexperienced Sister Ann has just arrived at her next posting at Samaritan House, a Dominican order located in a disreputable neighborhood of Ghent, Belgium. Sister Ann is ... See full summary »
Shortly before a rodeo festival week in Yuma County a body is found in the desert. It seems that it's Ria Paris, who was assumed to be killed by her husband before he took his own life ... See full summary »
"Thousand Clowns" update...a diatribe against our soulless society which says that even diatribes are pointless
Confrontations continually dog a new romantic couple in San Francisco: Katharine Ross as the estranged wife of a powerful lawyer and Jason Robards playing a low-rent horror movie actor who's house-sitting for a friend. Heavy-handed presentation 'with something to say' has Robards alternately shouting "Machines! Machines!" at the constant city traffic before quoting "Huckleberry Finn" and "King Lear". Too bad the only person listening to him is his new lady, who has problems of her own. Ross is a very attractive presence, but her performance is uneven; she's hesitant, then indignant...wistful, then frightened...contemplative, then angry. She enters the picture as a carefree flower child, but is soon turned into a psychological wreck being taunted by her soon-to-be ex. Director Tom Gries can't seem to get all the pieces in Robert Rudelson's overreaching screenplay to jell; there's too many angry or apathetic people milling about, too much miscellaneous misanthropic conversation which serves little purpose. The locations are well-captured, and Kenny Rogers and the First Edition provide a few dated, yet pleasant songs. However, "Fools" is just a writer's folly, one that not even Gries and Rudelson seem satisfied with. For his part, Robards is more handsome and three-dimensional than usual, but 93 minutes of his spouting off is far too much. An interesting misfire. ** from ****
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