A college professor (George Segal) and an English divorcee (Glenda Jackson) meet and marry while on a vacation in France. When the bride returns home she finds life less than rosey as the ... See full summary »
A committee investigating TV's first uncensored network examines a typical day's programming, which includes shows, commercials, news programs, you name it. What they discover will surely ... See full summary »
Bradley R. Swirnoff
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In the tradition of classic classroom dramas such as "To Sir, With Love," comes the story of dedicated teacher Conor MacMichael (Glenda Jackson), who tries to reach out and give to her ... See full summary »
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In the 1860's Wild West, when a ragged bunch of misfit settlers decide they cannot stand living in their current situation, they hire a grizzled cowboy to take them on a journey back to their hometowns east.
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A college professor (George Segal) and an English divorcee (Glenda Jackson) meet and marry while on a vacation in France. When the bride returns home she finds life less than rosey as the jungle of academia unfolds and the mirth of marriage fades. Written by
Melvin Frank performed a number of roles on this picture. Frank was co-writer, a producer and director. This was the final film as a producer for Melvin Frank. It was also Frank's final produced screenplay. See more »
Lousy attempt to recapture the magic of "A Touch Of Class".
Glenda Jackson and George Segal made a great couple in the Oscar-winning classic "A Touch Of Class" (1973). Her very English nature, and his American-ness, both clashed with and complemented each other beautifully.
In "Lost and Found" the same qualities just make their constant nasty conflicts annoying. They both have their moments - Glenda's drunken tirade at the Chinese restaurant is particularly superb - but the film drags on and on with a series of pointless screaming matches and tantrums. And when Paul Sorvino's talkative taxi driver arrives on the scene the film becomes barely watchable, and loses all sense of realism.
Extremely dull direction, poor scripting, awful music, and bad cinematography don't help. And why did they film all of Glenda's close-ups in soft focus!!! It looks ridiculous. Why couldn't they just trust her admittedly unusual, but still very sexy, face??
It's all a waste of two top actors at the peak of their careers.
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