Five years in, bank colleagues Nadine Ship and Jonathan Evans hit a road block in their personal relationship. Nadine wants their relationship to move to the next level, whereas Jonathan is... See full summary »
An artist (Moira Kelly) decides to put her troubles with men and evictions behind her by moving to a convent, so she can work for her keep. Is her art an opportunity for the sisters to save the convent from closure?
John Netherwood and his wife Leann are fugitives who are both wanted for murder. They have a young daughter named Janie. John and Leann are in the process of robbing a house when the two ... See full summary »
The phrase "entertaining angels" refers to the practice of treating all guests--be they kings or peasants--as if they were visiting angels. This is the challenge for all humble Christians ... See full summary »
Michael Ray Rhodes
Lenny von Dohlen
Character study about Mildred, an elderly woman who has spent her life caring for others. When her daughter finally leaves home, she finds that, for the first time in her life, she has ... See full summary »
A series of overlapping stories about four suburban families dealing with different maladies. Esther Gold's life is consumed by caring for her comatose son; Jim Train is sent into a ... See full summary »
Mary Kay Place
Five years in, bank colleagues Nadine Ship and Jonathan Evans hit a road block in their personal relationship. Nadine wants their relationship to move to the next level, whereas Jonathan is happy keeping things the way they are. Nadine feels re-energized when a new bank customer starts flirting with her. But things take a more significant turn in Nadine and Jonathan's life when a masked robber comes into the bank and following the heist, takes Nadine hostage. As her assailant takes Nadine along on his personal mission, Jonathan follows a hunch of his own on the identity of the robber in an effort to try and win back Nadine, who was slowly drifting away from him. Written by
Great opening credits; almost directly downhill from there
A beautiful, art-deco-ish opening credit sequence, set to beguiling bossa-nova flavored music, seems to promise something unusually quirky and allusive. For ten or fifteen minutes that still seems possible, before the movie - through a lame kidnapper-hostage love story - descends into astonishing predictability, and takes on a kind of joyless, sombre melancholy. The very short running time seems like a simple surrender, and falls far short of the feminine self-validation that's apparently intended. The saddest thing is that even if the movie had achieved what seem to be its goals, you'd still shrug at it.
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