A murder inside the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years -- which could shake the foundations of Christianity.
A young boy makes a wish at a carnival machine to be big. He wakes up the following morning to find that it has been granted and his body has grown older overnight. But he is still the same 12-year-old boy inside. Now he must learn how to cope with the unfamiliar world of grown-ups including getting a job and having his first romantic encounter with a woman. What will he find out about this strange world? Written by
Sami Al-Taher <firstname.lastname@example.org>
Tom Hanks was the first choice to play Josh Baskin but was unavailable due to scheduling conflicts with the films Dragnet (1987) and Punchline (1988). Robert De Niro was then offered the lead role, and was rejected because his salary demand ($6 million) was too high. Tom Hanks then became available and accepted the lead role for $2 million. David Moscow was originally cast not as young Josh, but as Billy, since he didn't look like Robert De Niro. When Tom Hanks was given the role, David Moscow was recast as young Josh. See more »
When Josh and Susan are standing up through the sunroof of the limo after leaving the party, the shadow of a boom mic is visible several times on Josh as the limo passes under street lights. See more »
Where did you go to school?
It was called George Washington.
Oh G.W. My brother-in-law got his doctorate there. Did you pledge?
Yes. Every morning.
See more »
This movie captures the innocence of youth beautifully
I saw this film again yesterday for what must now be the tenth or so time and it's a film that makes me stop whatever I'm doing and immerse myself in the unfolding story. Never mind the fact that I am by now familiar with the premise, which incidentally far exceeds similar ones of the genre released at this time - Vice Versa and 18 Again (the latter being truly dire).
I think this is one of Hanks' finest hours and see it as the pinnacle of his early pre-90's career. His later performance in Philadelphia would eclipse this role, although this was obviously more serious in its message.
It takes real talent to act the young boy in the body of a thirty something and Hanks' copes admirably, from the comical leaping around the bedroom when he is trying to put on the jeans of the child on discovering his transformation to the child-like reaction displayed on Perkins' advances toward him. He captures the essence of youthful innocence both in the company of his younger peers and older 'work' colleagues.
Elizabeth Perkins complements the performance of Hanks' and it seems a shame that on searching the database that her career perhaps hasn't mirrored the success of Hanks' since making 'Big'.
I don't know why, but I always shed a tear at the end of the film. Perhaps it is the longing in all of us to want to return to the days of our youth and that we cannot turn back the clock as one can in the imaginary world of film.
As I grow older, and watch my children grow-up it makes me realise that time is a precious commodity and that life is a gift that should be cherished and nurtured carefully. This film somehow reinforces these feelings.
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