Old Nat Moyer is a talker, a philosopher, and a troublemaker with a fanciful imagination. His companion is Midge Carter, who is half-blind, but still the super of an apartment house. When ... See full summary »
After his mother's death, Collin Fenwick goes to live with his father's cousins, the wealthy, avaricious, and controlling Verena Talbo, and her compliant, earthy sister Dolly. When a city ... See full summary »
Walter Matthau plays a professional killer going by the name of Trabucco, who is on his way to rub out gangster Rudy "Disco" Gambola, set to testify against the mob. As Trabucco heads off ... See full summary »
Joseph Kotcher, a retired traveling salesman, lives with his son Gerald and daughter-in-law Wilma in Los Angeles. He dotes upon his young grandson Duncan irritating high-strung Wilma to the... See full summary »
Felix's daughter Edna is getting married, and his wife Gloria throws him out of the house for a few days, so that she can plan the wedding herself, without him getting in the way. Felix ... See full summary »
It has been seventeen years now since Oscar and Felix saw each other for the last time. Oscar is living in Florida, Felix in New York. One day, Oscar is called by his son Brucey who invites him to his wedding to Felix' daughter Hannah next Sunday in California. Oscar and Felix meet again at Los Angeles International Airport and take a rental car in order to go to San Malina for the wedding. The trip develops into an odyssey, starting with Oscar forgetting Felix' suitcase at the Budget station, going over to the complete loss of the directions (and the car), several difficulties with the police, a dead person, a toupee, underwear and revenge-hungry Cowboys and ending up with Felix meeting the "one and only" woman. But the wedding has to be reached on time. Written by
Julian Reischl <firstname.lastname@example.org>
Upon finally reaching the wedding in San Malina Felix is yelling at his ex-wife. He claims not to have seen her in half a century fifty years. Their daughter's got to be in her late twenties or mid thirties. See more »
The wick is almost out, Felix. All I want is for the candle to glow one last time rather than curse the darkness.
It's not going out, Oscar, not yours and not mine. But I still have hope that somewhere out there we'll find the right lamplighter.
You know, we just used so many metaphors I forgot what the hell we were talking about.
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Unfortunately, I've never seen any version of the play except for the original movie, so I have little idea about the original play and the shows. But to me this movie is exactly like every other movie Matheau and Lemmon did since 1990, and it lacks the simplicity of the 1968 original which made them popular as a comedy/film duo. While the original was mainly performance and character driven, which is what made it so innovative, this one has little to do with the actual characters of Felix and Oscar and their bad chemistry together. It is more plot driven, which is what kills it. In fact, it could have been any two people with the exact same plot and nothing would change, whereas in the original the character's behaviour would have effected the plot a bit. Not only that, but there's no more satire and comments on marriage and divorce except the little bit at the end, which I felt was out of character for the play. You would think there would also be a comment on growing old and dying together, but there isn't because the plot gets in the way. Some may say that movies now have to be more plot driven and not as simplistic as they were 50 years ago, but I'd have to say they're wrong. A plot can still ruin a movie while one which is simply performance based can still make it today. Anyhow, the original is still much more popular.
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