A down-and-out film producer agrees to make his nephew's film about 19th century English statesman Benjamin Disraeli, but can only get financing if he casts a well-known action star. ... See full summary »
Louise wants to find a way to reconnect with her husband, Ian, who is divorcing her after many years of marriage. But when she surprises him at their country home, she is more than slightly dismayed that the roses and romantic set-up are not for her but for his much younger mistress. Louise takes matters into her own hands, and abducts Ian duct-taping him to the toilet, where he must admit to his true feelings and he is unable to leave her. Things grow exceedingly awry for everybody when a burglar shows up at their house, and then everybody must discover and admit to their true feelings. Written by
The ending is dedicated to actor and director Adrienne Shelly who was murdered in 2006 when she caught a man, who had broken into her office, stealing money from her purse. See more »
When taped to the toilet, Ian says, "I could care less!". The expression is, "I couldn't care less." See more »
[on the phone]
I threw heck to the wind and drove up to the country a day early, want to surprise Ian, spend the long weekend with him. So, I need you to call Metler and tell him that the papers were filed yesterday and everything is fine, and I will talk to him first thing on Monday morning. Then call my dentist, cancel my appointment, and reschedule it for Tuesday afternoon. And then cancel my meetings for the rest of the day. You know what to do, that's why you ...
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In the opening credits Timothy Hutton is referred to as Tim Hutton See more »
How exactly is she moving her husband's unconscious body all over the house?
Coming home unexpectedly one afternoon, a chattering businesswoman discovers not only is her husband leaving her, but also that he has fallen in love with another woman and was planning a rose-pedaled seduction in the couple's bedroom. She takes action by knocking him out temporarily and duct-taping him to a chair (and then to a toilet) in an attempt--one presumes--to hash out their problems rationally. Marital discord making for an unfunny dark comedy, with Meg Ryan and Timothy Hutton failing to create a convincing union (tattered or otherwise). Who on earth foots the bill for anemic productions like this? Picture starts out poorly and manages, somehow, to get progressively worse. Is there a message of some kind in Adrienne Shelly's strident script? If so, it is as well-hidden as Hutton's once-celebrated acting skills. The pits! NO STARS from ****
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