A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
Suffering from writer's block and eagerly awaiting his writing award, Harry Block remembers events from his past and scenes from his best-selling books as characters, real and fictional, come back to haunt him.
Dishwasher and small-fry criminal Ray hits on a plan with his partners in crime to re-open a local pizza place and dig through to the bank down the street. As his wife can't cook pizza but does great cookies, that's what they sell. While the no-hope tunnellers get lost underground, the cookie operation really takes off and the team find themselves rich business people. But the other local money isn't quite ready to accept them. Written by
Jeremy Perkins <firstname.lastname@example.org>
The film contains several references to Sir Arthur Conan Doyle's short story 'The Red-Headed League,' including the plot to break into a bank through the basement of an adjacent storefront and Frenchy's attempt memorize the contents of the dictionary. See more »
Shown the house where writer Henry James(whom her husband confuses with band leader Harry James) once lived, the culturally challenged Frenchy announces that James was author of "The Heiress" (which she mispronounces as "hair-ess"). In reality, "The Heiress" was the title shared by a movie and a stage play, each inspired by James's novel "Washington Square"; James never wrote anything called "The Heiress". See more »
I met a wonderful man downstairs. He seemed to like me. He said I reminded him of his wife who's dead. But I assume he meant when she was alive.
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I doubt if many people share this sentiment, but this is my favorite Woody Allen movie simply because it does what Allen usually sets out to do: makes me laugh. I'm not a big fan of Allen's films but he and Tracey Ullman make a great pair in this 95-minute farce. Ullman has to be one of the most talented ladies to never achieve real movie stardom. She matches Allen laugh-for-laugh in here and, in some respects, even steals the show.
Other than Allen's penchant for using the Lord's name in vain, this has a real classic-film feel to it, one of those old bickering spouse films but with more modern-day humor. Allen and Ullman trade some very funny insults, and there are many of these quality gags. Ullman is just plain hilarious as the bimbo-like "Frenchy."
Add a gigolo (Hugh Grant), a couple of inept crooks, a couple of old-time Elaine favorites, Strich and May, and a pretty funny premise and you have some good entertainment and an underrated Allen film.
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