Nick is desperate, holed up in a cheap hotel, suffering from an ulcer and convinced that a local mobster wants him killed. He calls Mikey, his friend since childhood, but when Mikey arrives... See full summary »
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 »
Three days into his Miami honeymoon, New York Jewish Lenny meets tall, blonde Kelly. This confirms him in his opinion that he has made a serious mistake and he decides he wants Kelly ... See full summary »
Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the CIA, the Emir of Ishtar, and the rebels trying to overthrow his regime.
A professional holdup man with scruples has a young ambitious partner who covets his wife and his life. When the holdup man goes to prison, the partner cuts loose, leaving a trail of deaths behind him.
Alberto De Martino
Nick is desperate, holed up in a cheap hotel, suffering from an ulcer and convinced that a local mobster wants him killed. He calls Mikey, his friend since childhood, but when Mikey arrives, Nick won't let him in: his moods swing. So begins a long night as Mike tries to take care of Nick, calm him down and get him out of town. Their sojourn - on foot and in a city bus - takes them to a bar, a club, toward a movie theater, to the cemetery where Nick's mom is buried, and to Nick's girlfriend's apartment. Tempers fray and the friendship is tested. Meanwhile, a hit man who's getting information from someone is indeed looking for Nick. Written by
On minute 61m 8sec: when Niky lays down on the floor whit his girlfriend there is not only a mike on the top of the screen, you can actually see the howl stick. If it was not for Colombo how was in the room this wood have killed the romance totally. See more »
It's very hard to talk to a dead person. I have nothing in common.
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There's nothing wrong with a film being low-key, as a sense of subtlety can force the viewers to draw their own inferences from the story and ultimately walk away more affected, with both the films of John Cassavetes and Robert Altman being prime examples. However, sometimes a film can be too low-key and nuanced that it never particularly involves the audience. "Mikey and Nicky" unfortunately did that for me. Director Elaine May never seems able to decide exactly what she wants the film to be, with it's tone often wavering between quirky character study, buddy comedy, and crime thriller. All this would be fine, but unfortunately the two title characters are never particularly likable. Both of them are considerably misogynistic (oddly enough for a film from a female director) and entirely at fault for the situations present, with Nicky being rather psychotic. The film does have some interesting points to make on the subjects of loyalty, but none of the characters remain truthful to one another.
Still, the film remains watchable for several reasons. It's definitely an interesting failure, as May tried, no matter how muddled the result, to craft something intelligent and different, so that should be respected no matter what. Unfortunately, as a director she seems far too derivative of Cassavetes, who stars. The main thing "Mikey and Nicky" has going for it is some great acting. Peter Falk and Cassavetes were both always compelling if often underrated leading men, and the supporting cast has some interesting choices (from Ned Beatty to William Hickey to Joyce Van Patten and even a young M. Emmet Walsh), even if they're often given little to do. Unfortunately, the film in the end lacks any real impact, making the whole venture seem rather pointless. (6/10)
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