Claudia has lived all her life in a small, seaside, blue-collar town, hanging out with the same group of friends since grade school. Now she's waiting tables in a greasy spoon to help ... See full summary »
Set in 1967 in New York City's Public Morals Division, where cops walk the line between morality and criminality as the temptations that comes from dealing with all kinds of vice can get the better of them.
Aaron Dean Eisenberg,
Mr. Fitzgerald, a widower and retired New York City fire fighter, wants to be left alone to pursue his hobby, painting landscapes. However, his three sons, one with wife and child, move ... See full summary »
This angst-filled tale of three Irish-Catholic brothers explores men's relationships with women. Three different situations are set up on parallel plotlines, with each brother facing a different kind of crisis. Their common bond as family, as well as close lifelong friends, allows them to express their feelings frankly and intimately, as they talk and discuss their concerns among each other. Jack finds himself in a marriage gone stale and under pressure to start a family that he does not yet feel ready for. Barry, dedicated to his film career and almost pathologically averse to any type of commitment in a relationship, is suddenly artistically successful and finds true love, both for the first time and both pulling him in opposite directions. Patrick is torn between his love for his religion and ethnic heritage and his love for Susan, his longtime Jewish girlfriend. Ultimately, they are all asked to resist temptation of one sort or another, with various poignant outcomes. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Seamus Egan, who composed much of the music on the soundtrack, was on a tour of New England when his car broke down. He was put up for the night by a local couple he had never met, whose adult son happened to be visiting for the weekend. They loaned Seamus their own car so he could finish the tour. In gratitude, Seamus (and bluegrass musician Dirk Powell) gave them copies of their CDs, they only gift they could afford at the time. The son turned out to be Andy Yarme, a technician working on the film in New York. The CDs found their way to Ed Burns, who in turn called Seamus and asked if he could use some of the music on the film. After the film was picked up by Sundance, the music was remastered, and due to the increased budget, Sarah McLachlan was brought on board. Together, they re-wrote Seamus' instrumental "Weep Not For the Memories", creating the hit "I Will Remember You". McLachlan's video for the song following its release as a single cost three times to make as the entire Brothers McMullen production. See more »
Visible in shadow when Jack is talking to Molly in their bedroom. See more »
[after someone mentions their father]
Speaking of our favorite wife beating, child abusing alcoholic, I went to the cemetery today.
And I'm happy to report that he's still dead.
See more »
'The Brothers McMullen', written, directed by and starring Edward Burns (on an extremely low-budget), invites us into the cosy relationship between three Irish-American brothers and their own relationships with God and members of the opposite sex. It is a conventional wisdom that a good story needs a beginning, a middle and an end, yet 'The Brothers McMullen' seems to be all middle - and engagingly so. Burns gives us a glimpse into the lives of these three brothers as they struggle to find their way through personal emotional turning points and re-evaluate their belief systems. The film is dominated by perceptive, sensitive and realistic dialogue throughout. The dilemmas of these three brothers are instantly recognisable to anyone in their twenties or thirties, their inner conflicts easy to identify with. This film is beautifully acted, and particularly likeable is Mike McGlone as the youngest brother who desperately tries to hold on to what he believes is his genuine Catholic conviction whilst searching for 'true love'. Burns' script is witty, warm, honest and wonderfully unpretentious. Burns himself turns in a great performance of the ever-maligned man who is 'afraid of commitment', yet somehow manages to remain intensely appealing and prevents his character from appearing to be a cliché. A rare gem among contemporary movies - one which is fuelled by words and not actions. Refreshing.
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