Hillary and Bonnie meet one morning by the side of the road. They become fast friends, share their secrets, and on a rising wave of frenzy later that afternoon, murder an old woman. They did it, they say later, for fun.
William R. Moses
Una domenica estiva in uno stabilimento balneare al Lido di Ostia (Roma). Una fauna umana variegata e tante storie che si intrecciano. Una squadra femmminile di pallacanestro ; due militari... See full summary »
A mourning workaholic's deceased wife comes back to haunt him, but in a benevolent way, trying to get him to change his dreary attorney life into a life where he has a relationship with his children and is happier with himself.
Four best friends, with four different personalities, have issues of their own. Deidre is fascinated by her sexuality and has many boyfriend problems. Madge is unhappily overweight and has overprotective parents. Annie boozes and does drugs, and runs away from her abusive father, a policeman. Jeanie has to take care of them and is fighting with her divorced mother. The only way to loosen up, and forget all the bad things happening in their lives, is to party and have fun. Jeanie is ready to grow up and wants to stop acting like a child. Annie is the worst of them all and Jeanie is worried about her the most. She risks her neck more than once trying to keep Annie clean and free from trouble. But Annie's unstable behavior and flare ups keeps everyone on edge. Written by
Brad's hair changes during shots, while riding home with the girls after the Angel concert. See more »
[Madge tries to leave after she and Jay had the argument]
I am not through talking to you!
Well I am.
Please come back here.
Why, so you can beat me up?
You're goddamn right!
What do you mean what?
[...] See more »
"Don't it kind of strike you sad when you hear our song?"
Four teenage girls in a suburb of Los Angeles get into all kinds of trouble: parties, drugs, cops, mixed-up parents, older boyfriends. Jodie Foster, the group's level-headed mother hen, tries keeping everyone together "like a family" (like the family unit she's never had), and the heartbreaking thing about the movie is that she can't. Slowly, everyone grows up and goes away. THAT precise plot point, though underscored throughout, is unfortunately tampered with. Did we really need a long sequence with Scott Baio outracing a car full of thugs on his skateboard? Or an even longer sequence--also with Baio--where Foster has a strange soliloquy about pain as an illusion. Some of the dialogue in fact is downright loopy, and I didn't much care for an edit in the third act which segues clumsily from a death to a wedding. But these are nitpicks in what is basically a very sensitive story about the loss of a tight bond. And Jodie's face at the ending speaks volumes. If viewers do get choked up, the movie has earned this. The film doesn't pander for tears or ask for sympathy--it shows us an example of friendship and hopes we understand. *** from ****
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