Set in 1960 London, where a soon to retire caretaker convinces a glass-ceiling constrained American executive to help him steal a handful of diamonds from their employer, the London Diamond Corporation.
David Merrill (Robert De Niro), a fictitious 1950s Hollywood director, returns from filming abroad in France to find that his loyalty has been called into question by the House Committee on... See full summary »
Robert De Niro,
A comedy about a screenwriter (Wuhl) whose old movie script is read by a producer (Landau) and the search for financial backers begins. But it seems that each money source (Aiello, DeNiro, ... See full summary »
Claire is a tough gang member that has to find the Boss' mistress, Kitty, who ran away from him. She is accompanied by Boss' trigger-happy son Jimmy. Claire's colleague gangster Nick is ... See full summary »
The year is 1750. Europe is in a ravaged state following a plague. Victor Moritz and Rufolf de Sevre are gamblers, frequenters of elegant casinos and fashionable brothels. Rudolf is a young... See full summary »
Walt Koontz, a homophobic guy, ends up with paralyzed vocal cords because of an unfortunate stroke. His therapy includes receiving singing lessons from a neighbor who is not only openly flamboyant but also a pre-op transgenderist. Both of them are equally prejudiced; Koontz against homosexuals and the neighbor against close-minded straight people. Written by
Rob Reser - The Movie Kid - <email@example.com>
The line 'I'm more of a man than you'll ever be, and more of a woman that you'll ever get' is tribute to "Rent". Wilson Jermaine Heredia (Cha-Cha) played a gay drag queen called Angel in the original cast. See more »
Philip Seymour Hoffman is good--if one-note--as a drag queen in New York who makes nice with the neighbor he hates, security officer and now stroke-victim Robert De Niro. The antagonistic relationship between the two might've used a bit more smoothing over (occasionally it feels like they're winging it, and De Niro's speech impediment tends to vary), but with two such fine actors running the scenes, there are compensations. De Niro himself looks fantastic, and he doesn't try to command the picture or any of his scenes with Hoffman; he's such a team player that you automatically respond to him. A drug-czar subplot is old hat, and the dancehall girl-with-the-pure-heart stuff is an obvious cliché, it has all been done before. But the real problem with the movie is that times have changed and perceptions are different, and not all gays are drag-queens and not all drag-queens want to have sex-change operations. It's a moldy movie myth that the filmmakers don't seem to get (perhaps they were brought up in an earlier era and believe the stereotype?). The continual foul language is a strain to listen to, but the growing camaraderie between the two leads proves to have some interesting give-and-take. **1/2 from ****
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