The story involves the Isaacs, a group of theater actors inhabiting a country home in Westchester County, New York. Present are patriarch George "Grisha" Isaacs (Jack Heller), his wife ... See full summary »
Gena is an average woman who is torn between her current boyfriend's desire to marry her and start a family, and the unexpected arrival of an old boyfriend wanting to pick up where they ... See full summary »
Two small-time thieves come together as a bizarre comic duo in a quest to make their childhood dreams come true. In a limousine stuffed with cash stolen from the mob, they take off for ... See full summary »
A whimsical comedy about a man who looks like Judd Nelson, is played by Judd Nelson, yet isn't, even though he uses "Judd's" identity to romance the ladies, and David, a barbershop owner ... See full summary »
A car and lorry collide, the woman in the back seat is probably dead, the driver is severely hurt. In flashbacks we see what led to the tragedy. He is David, a writer living in France, ... See full summary »
The story involves the Isaacs, a group of theater actors inhabiting a country home in Westchester County, New York. Present are patriarch George "Grisha" Isaacs (Jack Heller), his wife Vivien Cooper Isaacs (Diane Salinger), Vivien's brother Larry Cooper (David Proval), and family house guest Sally Brooks (Harriet Schock). As the tale opens, Grisha and Vivien's daughter, Pandora (Tanna Frederick) arrives from Manhattan on the heels of a painful and messy breakup. Her ex-boyfriend was an emotionally constipated jerk who couldn't deal with her vulnerabilities. Though Pandora adores her family, their chosen profession, and the emotionally-liberated lifestyle that it engenders, she also grapples with a tense, troubled relationship with older sister Betsy (Julie Davis); an icy, controlled businesswoman type who has distanced herself from this family of artists. Betsy turns up for a visit not long after Panda arrives, this time with her fiancé, Jimmy (Judd Nelson) in tow. In the days that ... Written by
I'm not sure why this movie has received such universal abuse from reviewers.
Admittedly, it's not as inspired as some past Jaglom offerings (certainly not as inspired as "Hollywood Dreams", which I absolutely loved), but on a moment-by-moment basis it is certainly interesting and colorful enough to be worthwhile--contrary to what reviewers would have their readers believe.
I'm even more puzzled by how reviewers seem to have taken to bleating in unison that Jaglom has all along turned out nothing but tiresome nonsense.
Have they seriously forgotten such marvels as "Tracks", "New Year's Day", "Venice/Venice", "Last Summer in the Hamptons", and (the aforementioned) "Hollywood Dreams"?
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