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 »
An undercover FBI agent falls in love with a recently widowed mafia wife, who is trying to restart her life following her husband's murder while being pursued by a libidinous mafia kingpin seeking to claim her for himself.
Tess McGill is a frustrated secretary, struggling to forge ahead in the world of big business in New York. She gets her chance when her boss breaks her leg on a skiing holiday. McGill takes advantage of her absence to push ahead with her career. She teams up with investment broker Jack Trainer to work on a big deal. The situation is complicated after the return of her boss. Written by
Sami Al-Taher <firstname.lastname@example.org>
When Jack and Tess are in the negotiations between Ambrister and Trusk, Jack comments "we're all waiting to see what color smoke comes out of the chimney." It's a reference about the election of a new pope in the Vatican of Rome: to chose new pope, all cardinals and bishops are secluded in a room to deliver. If at the end of the day there isn't an election confirmed, Vatican's chimney ejects black smoke. If there is election, smoke is white. See more »
When Catherine is getting off of the helicopter, she first is waving from it and the blades are still spinning. Then when Tess goes to help her out of the helicopter the blades have stopped spinning. (There is no way that they would have stopped so fast.) See more »
Watching Working Girl ten years after its release, it's hard not to dismiss it as a dated satire of the corporate world of the 1980's. At the same time, that's part of the movie's charm. Even though ten years has made the costumes, hair, and production design irritating, the charm and intelligence of Mike Nichols' Cinderella story still shine through. As does the quality of the performances, which are also revealing a decade later. Harrison Ford makes a perfectly likable romantic lead while Alec Baldwin and Kevin Spacey offer amusingly smarmy comic performances. But the actresses walk away with the movie. Joan Cusack is hilarious in a scene-stealing turn as a Staten Island secretary, and Sigourney Weaver is great as a shrewd and conniving career woman. The brilliance of Weaver's performance is how slyly and genuinely she plays her villianous character, often decieving the audience as she decieves the characters in the movie. And finally there is Melanie Griffith who gave a star-is-born performance as the big-haired secretary who falls in love with Ford's merger specialist and smartly climbs her way up the corporate ladder after Weaver stabs her in the back. Griffith earned an Oscar nod for this performance (as did Cusack and Weaver for theirs) and it's a testament to how funny, sexy, and wonderful she is in the part that even after numerous flops and odd career moves, she's still a well-known movie star ten years later (For an opposite side at this scenario look at Jennifer Beals in Flashdance or Jennifer Grey in Dirty Dancing, both of whom became big stars and then fell off the face of the earth). Nichols' direction is smart, as is Kevin Wade's clever screenplay, and the light and funny romantic comedy leads up to a surprisingly suspenseful and enormously satisfying climax. All-in-all, a satisfying and amusing entertainment.
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