Tonatiuh and Maria experience a passionate and turbulent relationship. One night, in the heat of an argument, they suffer a automobile accident. Tonatiuh is left in a coma, and during his ... See full summary »
A widower whose book about coping with loss turns him into a best-selling self-help guru, falls for the hotel florist where his seminar is given, only to learn that he hasn't yet truly confronted his wife's passing.
Tepito is a neighborhood of Mexico City, where the dreams of many destitute people become real. But Tepito is also run by organized crime and corrupt politicians, impunity reigns and ... See full summary »
Fermín Gómez Lara
Luis Felipe Tovar,
The Third collaboration between Jennifer Aniston and Kathryn Hahn. They previously worked together in Wanderlust (2012) and We're the Millers (2013). See more »
(at around 20 mins) When Jane lets the German Shepherd, Shep, into a taxi, she says, "Good girl." Later she refers to him as a male: "Come on, boy." See more »
Nobody can tell you where your place is, where is my place? Where is anybody's place? You wanna know where it is? Wherever you're happy, that's where your place is. And you're the best judge of that. In central park for instance some people like to feed the nuts to the squirrels but if it makes someone happy to feed squirrels to the nuts, who am I to say nuts to the squirrels?
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During the end credits, we see what happened to the main characters. See more »
I wandered into this in a theater in Europe without realizing it was the work of Peter Bogdanovich. Even without knowing that, though, it was obvious that the movie was trying to recapture the spirit of the old screwball farce comedies, with many unsubtle allusions -- like a private detective in a Pink Panther getup, or a cameo by a famous director also known for borrowing from old films -- that were meant to clue us in that the whole thing was a riff on movies and filmmaking themselves. The problem is that the classic comedies of Hawks, Sturges, Lubitsch and the like, at their best, had something besides farcical events: great, witty writing, truly funny moments (not just "funny coincidences"), a clearer send-up of wealth and social class. I'm struggling to remember anything like that in "She's Funny That Way." It's just a few hours later, and I can't recall a single line (other than the one that keeps getting repeated, which we learn is also from an old movie). It had the right sort of situation, setting, musical underscoring, and the requisite "zany" characters and plot, but it felt to me kind of like an empty shell, the outward mold of a screwball comedy still waiting to be poured full of the really good stuff.
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