Dede is a sole parent trying to bring up her son Fred. When it is discovered that Fred is a genius, she is determined to ensure that Fred has all the opportunities that he needs, and that ... See full summary »
Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation.
Sarah Tobias goes to her local bar and is gang-raped by three men. The district attorney on the case is Katheryn Murphy who wants to prove that although Sarah had taken drugs that night and was acting provocatively while in the bar, this is no reason for her to be so brutally attacked and the men responsible should be brought to justice. Written by
Sami Al-Taher <firstname.lastname@example.org>
This is the first film since Two Women (1960) to win the Best Actress Academy Award without being nominated in any other category. See more »
When Bernie Coulson visits Steve Antin in prison they talk through telephones with a glass barrier between them. Yet, the whole conversation is heard through the telephone whether the scene is shot from the side of the speaker or not. See more »
[Larry tries to kiss Sarah]
When are you going to get over this? Because it's getting really boring!
Fine. I'll be back in a couple of hours.
No. This is my house, and I don't want you in it. Get out!
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a serious and troubling study of sexism at its worst
The shocking true story of a bar room gang rape is lifted from the headlines to become, with dramatic license, a serious and troubling study of sexism at its worst, when the victim herself is accused of 'asking for it'. Jodie Foster offers a courageous performance as the tough but vulnerable Sarah Tobias, whose behavior on the night of the crime was certainly provocative, but as the flashback re-enactment shows all too clearly no amount of provocation could justify such a brutal response. Up until those final scenes the film is a well-crafted but largely conventional topical drama, with lots of predictable bonding between Foster and her conscience stricken attorney Kelly McGillis. But the attack itself, teasingly saved until the final reel, is so graphic and degrading it obliterates the memory of everything that happened earlier. The scene is pure exploitation, but it serves a purpose, putting audiences in the same, ugly position as the cheering onlookers in the bar, who in many ways were even guiltier than the rapists themselves.
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