In Dublin, a working class family has been unsuccessful in convincing their son to get a real job: the son prefers his job of scooping up horse's dung and selling it for flower gardens. An ... See full summary »
A well meaning but burned-out high school teacher tries to maintain order against the backdrop of a pending lawsuit against his school district when it comes to light they gave a diploma to an illiterate student.
Henry is a lawyer who survives a shooting only to find he cannot remember anything. If that weren't enough, Henry also has to recover his speech and mobility, in a life he no longer fits ... See full summary »
An eccentric and dogmatic inventor sells his house and takes his family to Central America to build a utopia in the middle of the jungle. Conflicts with his family, a local preacher and ... See full summary »
Carolyn Polhemus, an up-and-comer in the Kindle County D.A.'s Office, is found viciously murdered in her home. Immediately her boss, D.A. Raymond Horgan and his chief deputy, Rusty Sabich ... See full summary »
George Lucas commented that this film was so bad that "it made all of ten cents," and that he has no clue why he made it. See more »
The Vietnam sequence is set in 1965, around the time M16 rifles were introduced. Toad and other American soldiers are armed with later M16A1 rifles (distinguishable by their cylindrical muzzle and 30-round magazines) issued in 1967. While the early M16s were indeed notorious for jamming in Viet Nam's in jungle conditions, the M16A1 was specifically introduced to remedy this problem. See more »
Debbie, you wanna stay away form weed. You know it's gonna lead you into cigarettes.
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Their futures were foretold at the conclusion of the original...
So why did we need "More"? It must've been a corporate decision--with financial gain the bottom line. If so, that plan didn't quite work, as "More American Graffiti" failed to catch on with its target audience, mostly due to the fact it reflects not the 1960s but TV sitcoms derived from '60s nostalgia. The Ron Howard and Cindy Williams segment plays like a "Happy Days" rerun with bad language, however Charles Martin Smith's Vietnam episode is vividly captured--and the idea of him trying to blow off his own arm in order to get back home says more about the war than "The Deer Hunter" did in three hours. Paul LeMat has some good scenes flirting with a pretty Swede, while Candy Clark kicks around as a kooky hippie. The film, produced by George Lucas, is full of colorful distractions: multi-image cinematography, constant period music on the soundtrack and lots of overacting. Unfortunately, nothing can distract from the laziness of the writing, nor from the film's somewhat tiring concept--each story takes place on a different New Year's Eve--which is a gimmick, nothing more. The episodes aren't shaped with much cleverness, and the film is rather insensitive and preconceived. ** from ****
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