After losing her job, making out with her soon-to-be former boss and finding out that her daughter plans to spend Thanksgiving with her boyfriend, Claudia Larson faces spending the holiday with her family.
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Robert Downey Jr.,
Natasha Gregson Wagner
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Robert Downey Jr.,
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An English Professor tries to deal with his wife leaving him, the arrival of his editor who has been waiting for his book for seven years, and the various problems that his friends and associates involve him in.
After losing her job, making out with her soon to be ex-boss, and finding out that her daughter plans to spend Thanksgiving with her boyfriend, Claudia Larson has to face spending the holiday with her family. She wonders if she can survive their crazy antics. Written by
Cyndi Kessler <firstname.lastname@example.org>
Robert Downey Jr. publicly admitted to using heroin during the making of this film. Jodie Foster wrote him a letter praising his work but warning him that he could not keep doing this on other films. See more »
When Claudia storms out of Tommy's car, her cap appears and disappears on the car's dashboard. See more »
I have friends in Boston, Tommy. Did you ever think about that? There are other people in this world. People who tell people. I mean, how embarrassing.
Desert looks pretty good.
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Jodie Foster's second film as director shows her faltering a bit from her debut with the moving, funny "Little Man Tate". Working with an uneven script that is better in its straight dramatic moments than as a comedy, Foster can't get a realistic rhythm going between the disgruntled family members at this Thanksgiving reunion. Every scene involving Geraldine Chaplin as a neurotic aunt is a loss, and Robert Downey, Jr. is awful as the obnoxious gay brother of Holly Hunter. Hunter usually gives flaccid scripts like this a little boost, but even her timing is off (especially in the early introductory scenes, which don't work at all). Finally, as if the clouds parted and clarity shined through, the movie picks up in its final twenty minutes. There's a scathing scene between the sisters ("If I met you on the street--if you gave me your number--I'd throw it away") and Charles Durning's remembrance of his family at the airport is wonderfully wistful. I also admired the final arty shots showing the past and the present (with the camera circling madly, joyfully), and then a crystal clear shot of a plane descending into the velvet sky. Are these moving moments enough to justify the glut of an otherwise overwrought picture? Almost. ** from ****
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