When a young accountant is devastated after discovering his inspiringly beautiful girlfriend is cheating on him, his best friend, who's engaged to a girl he doesn't love, convinces him to ... See full summary »
Guinevere Pettigrew, a middle-aged London governess, finds herself unfairly dismissed from her job. An attempt to gain new employment catapults her into the glamorous world and dizzying social whirl of an American actress and singer, Delysia Lafosse.
Successful Carolinian George Johnsten meets Chicago art gallery owner Madeleine at an electoral benefit art auction- love at first sight. Madeleine decides to meet a Southern original artist, so George seizes the opportunity to come along and present her to his North Carolina parents Eugene and Peg, drop-out brother Johny and his high-pregnant wife Ashley. Confronting the outsider soon opens a can of worms as emotions revive or emerge, like admiration and jealousy. Written by
In the scene where Ashley (Amy Adams) does her sit up exercises, director Phil Morrison used a split screen, combining the performance of a real pregnant woman with Adams's head. See more »
In the hospital room, something that appears to be a saucer under the water pitcher appears and disappears between shots over George's shoulder. See more »
I hate hospitals, but it wasn't really all that scary. All the needles and stuff. It wasn't that bad. I'll tell you what the scariest thing is to me - the scariest thing to me is Johnny. It is. He didn't say nothin'. Not one word. At least I don't know what it is, and I think he really did want it, too. Just a boy - you know how I know? I heard him tell your pa to paint the cradle brown. You just wouldn't put a baby girl in a brown cradle. You just wouldn't.
[starts to cry]
I don't know what ...
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A list of 121 extras is included in the credits, although these credits are given separately from the cast list, after most of the crew credits have been shown. See more »
Like good poetry, in Junebug I believe the viewers are invited to bring their own lives and experience to the back story, the subtext. The ambiguity of family and the intricacies of relationships in this film encourage the movie goer to rethink the confused and sometimes absurd moments we experience while finding ways to fit in- or not. I thought the film was very funny at times-not cheap funny- but the goofy, oops, hoof-in-mouth moments when we try too hard or miss the cues. (The look on Madeline's face in the screwdriver conversation!) This movie left so much to think about. That is film as art- when the conversation with it continues in our heads.
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