Dee Dee Rutherford has never been able to figure out what her father, Bill, wants from her. Like oil and water they've lived essentially separate lives for the past 15 years-Bill running his Fortune 500 company from the city and Dee Dee on the dole, chasing an endless series of outlandish adventures from his summer home. Now, on the eve of his retirement, Bill finds he's got one piece of unfinished business: to finally make an upstanding woman of his brash, neglected, and undisciplined daughter. But in laying down the law, he learns Dee Dee's capable of a lot more than he ever knew and soon finds his tactics are punishing him more than her. As Dee Dee struggles to placate her father she's confronted by the reality that she 'doesn't know how to be anybody else' but her complicated, unrefined, unsinkable, adventure-seeking self. In the end, each drives the other to the same surprising discovery of what it is Bill really wants. Written by
When the driver of a recurring taxi cab got bored and left on the cab's first day of shooting, prop master Geoff Binns-Calvey and Prop Asst. Merje Veski fashioned a new cab out of Key Grip Ronald Dragosh's maroon Caprice Classic in a single hour to save the shoot. Their creation became Ali's cab for the whole movie. See more »
It isn't very often that I laugh this hard at a movie. Lisa Ann Walter had me in stitches. J P Manoux's performance was awesome as well. His lines were minimal but his facial expressions said volumes. Kurtwood Smith gave another great performance as expected. For those of you that are used to seeing his hardnose characters such as his role in Dead Poets Society, you know what I'm talking about. The films pacing was good with a fairly fast comedic clock which is not easy for a film to maintain. Even though this film reports a budget of 750 grand it comes off like a Hollywood production with a much higher budget. The few things that I would point out that only perhaps a filmmaker might notice as weekpoints would be one; the music. The score was great and quirky when it needed to be but lacked some emotional punch when it really needed it. There were two scenes in particular (which I won't mention) that should have had you crying your eyes out but with no fault of the acting failed to deliver. Second, the cinematography while pretty good at times found itself confused. I recall during the film being annoyed by the camera not being able to find the right position. It would jump the line and irratically go from a tight shot to a wide shot to a medium shot to an over the shoulder to a...if you uderstand this stuff you know what I'm talking about. Apparently, from watching the way the majority of the film was cut this was no fault of Mike Meiners who made a fantastic film in all other respects. If you have a chance to see this film by all means do it. You won't be disappointed. By the way, did I mention that The Chicago International Film Festival is a great place to see a premiere film?
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