Substance-addicted Hollywood actress Suzanne Vale is on the skids. After a spell at a detox centre her film company insists as a condition of continuing to employ her that she live with her... See full summary »
During shopping for Christmas, Frank and Molly run into each other. This fleeting short moment will start to change their lives, when they recognize each other months later in the train ... See full summary »
Robert De Niro,
Chile, second half of the 20th century. The poor Esteban marries Clara and they get a daughter, Blanca. Esteban works hard and eventually gets money to buy a hacienda, eventually to become ... See full summary »
Maria Conchita Alonso
An autobiographical look at the breakup of Ephron's marriage to Carl "All the President's Men" Bernstein that was also a best-selling novel. The Ephron character, Rachel is a food writer at... See full summary »
A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her ... See full summary »
A drama exploring the romantic past and emotional present of Ann Grant and her daughters, Constance and Nina. As Ann lays dying, she remembers, and is moved to convey to her daughters, the defining moments in her life 50 years prior, when she was a young woman. Harris is the man Ann loves in the 1950s and never forgets.
A young boy tells the story of growing up in a fatherless home with his unmarried mother and four spinster aunts in 1930's Ireland. Each of the five women, different from the other in temperament and capability, is the emotional support system, although at times reluctantly, for each other, with the eldest assuming the role of a 'somewhat meddling' overseer. But then into this comes an elderly brother, a priest too senile to perform his clerical functions, who has "come home to die" after a lifetime in Africa; as well, there also arrives the boy's father, riding up on a motorcycle, only to announce that he's on his way to Spain to fight against Franco. Nevertheless, life goes on for the five sisters, although undeniably affected by the presence of the two men, they continue to cope as a close-knit unit... until something happens that disrupts the very fabric of that cohesiveness beyond repair. Written by
BOB STEBBINS <email@example.com>
Kate 'Kit' Mundy:
You work hard at your job, you try to keep the home together but suddenly you realize that cracks are formin' everywhere. It's all about to collapse, Maggie. What I'm most worried about is Rose. If I lose my job, if this house is broken up, what'll become of our Rosie?
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Two great scenes, some decent acting, but what's the point?
Dancing at Lughnasa (Pat O'Connor, 1996) is an oddly muted drama in which nothing really happens, for an hour and a half. "Progress is a comfortable disease," observed grammar-phobic poet e e cummings. For him, maybe, but for five unmarried sisters in '30s Ireland, it's anything but, as the march of time throws their life together into jeopardy. The spectre of industry and dwindling school rolls are looming, threatening to put teacher Meryl Streep (who is really annoying here, sometimes intentionally) and professional knitters Sophie Thompson and Brid Brennan out of work and break up the family unit. Not that they seem very happy to begin with, bickering and casting light on another's neuroses in a way that becomes quickly wearing very quickly. There's love in the house, for sure, but there's a lot more repression and glumness, much of it uninteresting and trite.
As well as the breadwinners, we meet happy-go-lucky Kathy Burke, fifth sister Catherine McCormack - spending a summer with returning lover Rhys Ifans - a clergyman brother ravaged by dementia (Michael Gambon), and young Darrell Johnston, the story told through his eyes. The film has uniformly good performances, but it's often clichéd and unenlightening, with an opening and closing voice-over that apes How Green Was My Valley and seems to bear little relation to the action in between. On the plus side, occasional moments of insight peek through the overbearing script and there are two really good scenes. One has the family flicking through a photo album and recalling lost love; it's a quiet tour-de-force from Burke. The other, which partly gives the film its title, is simply great, as the sisters begin dancing to a song on the radio, their celebrations growing ever more feverish until they spill out into the yard. It's a moment of sheer wonder amid much muddled misery.
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