In Texas, Floyd is the owner of a decadent bar nearby the coast. He misses his wife Dorothy, who disappeared one year ago, and does not pay attention to the business, giving credit to ...
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Busy and often absent father must take care of his two boys after his wife dies. They all live in Tunisia because of their father's job. The older boy is handling the difficult changes much better than the younger one.
A middle-aged steelworker is content with his job and his family, but feels that something is missing in his life. On his 50th birthday, he stops in at a local bar for a drink to celebrate.... See full summary »
An unconventional cop who doesn't take any bull, is paired up with an amazing detective to capture some powerful criminals but the cop soon realizes that his by the book partner has split personality disorder.
In Texas, Floyd is the owner of a decadent bar nearby the coast. He misses his wife Dorothy, who disappeared one year ago, and does not pay attention to the business, giving credit to everybody. His senile father-in-law The General lives with him demanding care. He has two employees, the former inmate of a mental institution Jimmy and the spinster Louise that has a love affair with him and has offered her saving to become his partner. Floyd has a huge tax debt and his pseudo-friend Charlie is forcing him to sell the place very cheap. However Louise finds that a bridge will be built soon and will increase the value of the bar. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Dreadful. Any film that contains a sequence (usually 'poignant') of a character (typically a middle-aged man) watching home movies of happier days is a picture that shamelessly courts clichés. "Full Moon in Bright Water" begins with such a scene--before we even know who the characters are or what the circumstance is (I was more curious who was shooting the home movies while Gene Hackman and his wife frolic on the lake). Widower Hackman, grieving his wife's not-recent death by drowning, runs a tired old lakefront bar on the Texas coast; the county commissioner is trying to frighten him into selling the property for the prime real estate value (Hackman doesn't know he's sitting on a goldmine--the script is that stupid). Director Peter Masterson keeps the nitwit story rolling along, but somewhere late in the second reel I felt he and the cast had nothing more to offer. Elias Koteas as a not-too-bright bar-employee nearly shows up the heavyweight stars (Hackman, Teri Garr and Burgess Meredith), but his role is made impossible by a ridiculous turn of events. The action is kept very busy, yet the characters never take shape and some of the dialogue is really ugly. Garr made a lot of bad film choices after her Oscar-nominated turn in "Tootsie", but what drew Hackman to such a thin, innocuous project? *1/2 from ****
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