Set in present day New York City, "Happy Hour" is a literate and often funny story of love and how to receive it. Tulley, a once-promising literary star now biding his time as an ...
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On the eve of selling her mother's house, a thirty-something housewife wakes up to a hangover surrounded by her best friends from high school, who were used to partying in the house in an ... See full summary »
Taylor Brandon Burns, a conflicted twelve-year-old TV star from the U.S., runs away from the set - and his problems - while shooting a big-budget film in Canada. His reluctant limo-driver, ... See full summary »
Richter Boudreau, the son of local celebrity Cynthia, is not very successful and works as a film critic for a local newspaper. In a short time he loses his job and his heritage, and one of ... See full summary »
Deborah Kara Unger
Set in present day New York City, "Happy Hour" is a literate and often funny story of love and how to receive it. Tulley, a once-promising literary star now biding his time as an advertising copy editor, moves from cynicism to acceptance as he secretly hopes to write a great novel only to learn that his life of booze will end all too soon. Levine, his best friend and Natalie, the woman who might have saved him, suffer the pain of Tulley's anger and rejection. Written by
After some time in the movie, Levine asks: "I don't suppose she has a sister", and Tulley answers: "Three brothers". The line: "I can't catch a break. What's her mother like?" was totally improvised. That's why Tulley almost chokes on the bourbon. See more »
I don't suppose she has a sister.
I can't catch a break. What's her mother like?
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A fine blend of tragedy and comedy with an excellent script and acting.
I saw this film at the Austin Film Festival and enjoyed it immensely. It is much superior to most Hollywood schlock and slash. It has a literate script, interesting characters, witty banter, and a fine blend of tragedy and comedy (or was it comedy and tragedy?) that is difficult to finesse. Although some of the subject matter is dark, it remains comic -- not in the broad, rowdy M*A*S*H sense, but in a charming, everyday, real-life sense. The film's courage to be honest about how someone's self-inflicted tragedy doesn't necessarily consume everyone around him was refreshing, and the life-goes-on message is honest and not cliched. There are fine lead performances by Anthony LaPaglia, Eric Stoltz, and Caroleen Feeney, and a great turn as a comic villain by Tom Sadoski. His comedy is wickedly balanced by a more darkly villainous Robert Vaughn. The tone of the film hangs in between, in tipsy harmony. This film deserves a well-publicized theater run. See it!
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