A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusion from their leader.
Chris Bradley is a young man who returns to his home city of Pittsburgh after several years of drifting and working odd jobs around the country since his discharge from the U.S. Army. Rejecting moving back in with his father and not wanting to return to the family business of manufacturing baby food, Chris meets and shacks up with Lynn, an older woman who works as a model in local TV commercials, and whom becomes his 'sugar mama' of supporting him financially and emotionaly, which begins to put a strain on the affair especially when Lynn finds out that she's pregnant and does not feel that Chris would make a responsible father or husband. Written by
Briefly seen just after the 54 minute mark, the clapboard for the commercial shoot reads "ROMERO." See more »
Dad, I just don't want to go to work in your baby food factory. And, I don't want to sell vacuum cleaners. I don't want to sell little toy plastic aircraft carriers. I don't wanna... I don't know what I want.
Chris, I think I understand what you're talking about. A little bit anyway. But these problems are a little bit like going to Howard Johnsons for some ice cream. You can get all kinds of wild, exotic flavors. But somehow, you always wind up with vanilla.
Oh, Jesus Christ, Dad, I could cry!
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I am first and foremost a vigilant fan and defender of the horror genre; it's where my heart lies. But this radical departure from the genre Romero has primarily stuck to - is a surprising delight. The previous user comments do a terrible injustice to the director, writer and cast. The sharp, intelligent dialogue is delivered by a talented, lively and very professional group of actors. The story itself is unlike other of its contemporaries in that it has the brains and skill of a true auteur fleshing out what, in the hands of a lesser artist, would have been a mere exploitation flick. Romero's distinct framing of shots and brilliant editing techniques are in full force; and anyone who appreciates Romero as a director (not just horror movies) should definitely see it. Considering Romero is as political a director as he is an artistic one, this is a perfectly logical follow-up to his horror masterpiece, "Night of the Living Dead". " There's Always Vanilla" is funny, artistic, lurid and intelligent. Highly recommended.
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