Lillian is a 21-year-old drifter engaged to a philandering loser and locked in her room with a strange man. She lives next to a failed violinist who won't stop playing his instrument. He ... See full summary »
An academic obsessed with "roadside attractions" and his tv-star daughter finally discover the world's largest ice cream cone, the centerpiece for an old gold-rush town struggling to stay ... See full summary »
Morgan J. Freeman
Brendan Sexton III,
A librarian begins a passionate affair with a mysterious woman who walks into his library. When she suddenly disappears he travels down to London to search for her only to discover that she... See full summary »
In a wealthy and isolated desert community, a sound expert is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in ... See full summary »
"All Over The Guy" is a contemporary romantic comedy about the quest to find the "one" when "the one" doesn't know he's the "one." It explores the unlikely pairing of two 20-somethings ... See full summary »
This comedy with much Jewish humor is about the widows Doris, Ester and Lucille, who's husbands died one after another in just a few years. The 3 friends in their 50s react quite ... See full summary »
A naive drifter runs away from his army father in hopes of making it on the car racing circuit. In Las Vegas, he meets a young scam artist, who develops a crush on him. He is then ... See full summary »
Jonathan Taylor Thomas
Tex is a gunslinger who murders a cowboy and steals his money. Lem is an honest man who wants nothing more than to marry Barbara. When Tex marries Barbara and treats her badly, Lem decides to settle the score.
Criticizing this film needn't go much beyond its premise - not that of the script, but the idea of producing a 'lost' Ed Wood script. Said script is a dialogue-free(!), surprisingly dark comedy about an asylum escapee, and in true Wood style it's a consummate triumph of imagination over any kind of narrative purpose or skill. Bright spots are Billy Zane's astonishing grasp of physical comedy, and some clever use of soundtrack, framing, jumpcuts and flashbacks. Still, it's unevenly paced and overlong, and neither slapstick nor camp-value can sustain it. The amazing supporting talent is unforgivably wasted. All up, a bold and fun experiment, but pointless.
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