Financial wizard "Doc" Fletcher (Michael Caine) is sent by crime boss Joe Fiore (Martin Balsam) to buy a bank in Switzerland in order to more easily launder their profits. When he arrives, ... See full summary »
One of the most important images of the Czech New Wave 60s, which was ranked among the top ten domestic films of all time. Feature debut screenwriter and director Ivan Passer is currently ... See full summary »
After her mother's death, Clara, a middle-aged attorney, returns home to Savannah, where she begins to realize how much she misses her roots. Clara reminisces with old friends about her ... See full summary »
Larry Rayder is an aspiring NASCAR driver, Deke Sommers is mechanic. As they feel they collectively are the best, the only thing that is holding them back is money to build the best vehicle... See full summary »
A British petty criminal lies to his son about his frequent prison terms by inventing honorable plausible explanations for his absences from home but things get complicated when his son becomes a judge's assistant.
Neighbors in a New York co-op join their local precinct's auxiliary police force to fight the crime dominating their once-peaceful neighborhoods. Any movie comedy attempting jokes on robbery and rape isn't going to be pretty, but it should be nimble enough to successfully tread the line between satire and the reality we see every night on the TV news. Director Ivan Passer, who also co-wrote this grossly exaggerated farce with Kenneth Harris Fishman and William Richert, isn't trying to make a statement on life in the Big City, he's just sending it up (the relatively sober conclusion is meant to be ironic, I suppose, but what's the point after all the cheap gags foisted at us?). The ugly conception of the jokes coupled with an ungainly presentation and broad performances quickly turn the film into a sour enterprise--an extension of the themes in "Little Murders" but with a sitcom undermining. Pairing Carroll O'Connor (then-hot from TV's "All in the Family") in a commercial enterprise with eternally-frustrated Ernest Borgnine must have seemed surefire, but only O'Connor comes through with a legitimate characterization (would you believe Borgnine as a beautician?). The supporting cast is encouraged to ham and mug, while the theme of the picture--urban decay--is treated shallowly for crass laughs. *1/2 from ****
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