Three sisters with quite different personalities and lives reunite when the youngest of them, Babe, has just shot her husband. The oldest sister, Lenny, takes care of their grandfather and ... See full summary »
After American scientist is severely injured and scarred in a car crash along the border with East Germany, he is captured by East German military. The scientists use metal implants to save him. Once back in the States no one can tell if it's really him so an intelligence specialist must determine who is under the "mask".
LA cops Gould and Blake get in over their heads when they don't heed orders from above and go after a big crime boss. While higher ups in the police department want the cop duo to just ... See full summary »
Reece McHenry is a used-clothing store owner and Carol Fitzsimmons is a seamstress working in that store. The film follows the story of their relationships from 1960s till present time (as ... See full summary »
In 1974, flanked by such filmic monuments to paranoia and corruption as Chinatown and The Parallax View, Elliott Gould and Donald Sutherland tried to re-create the screwball nonchalance of ... See full summary »
Peter Soffel is the stuffy warden of a remote American prison around the turn of the century. His wife, Kate, finds herself attracted to prisoner Ed Biddle. She abandons her husband and ... See full summary »
"A Touch of Class" without the class...which is both pro and con
Norman Panama co-wrote and directed this silly bedroom comedy steeped in '70s clichés. Bickering couple, married ten years and separated for one, are reunited at the wife's sister's "contractual engagement" and soon decide to have a couples-contract drawn up for themselves. Panama, a veteran of film comedies who for years teamed with Melvin Frank (who later went on to big solo success with "A Touch of Class" in 1973), doesn't quite have it in him to be ballsy or outrageous, so he settles instead for sniggering-lite. This works out all right for the film's first half, which gives stars Elliott Gould and Diane Keaton a chance to play sort of an updated version of Rock Hudson and Doris Day (he's a skirt-chaser, she's sexually-repressed and maybe frigid). But the second-half, a screwball outing at a California sex clinic, drops a big bad bomb, turning our likable leads into arms-flailing ninnies. If the characters had stayed right where they were, this might have succeeded as a raunchy variation on "A Touch of Class". But Panama was obviously after big, slapstick-y laughs and cartoony embarrassments. His cast says "I Will, I Will" against their better judgment. ** from ****
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