Ralph and Annabell Willart are a feuding couple who are constantly bickering over their worthless, good-for nothing son Berry-Berry. When Berry-Berry begins yet another meaningless love ... See full summary »
Eva Marie Saint,
As the young man, Tom, prepares to leave the Suffolk village of his birth, voices and experiences from his family's past crowd in on his mind, weaving a poetic tapestry of the love of home and the longing to get away from it.
A couple uses extremely black comedy to survive taking care of a daughter who is nearly completely brain dead. They take turns doing the daughter's voice and stare into the eyes of death ... See full summary »
The British National Health System is skewered in this comedy set in a rundown London hospital. The hospital is filled with wacky staff members and patients, and the film strives to get all... See full summary »
After incurring the wrath of the mob, a comic flees Detroit for Chicago taking the name "Mickey One" from a stolen Social Security card from a homeless bum he witnesses being beaten up and robbed. As he returns to the stage and becomes successful, he fears that the mob will track him down. He wishes to square himself with the mob, but doesn't know what he did to anger them or what his debt is.Written by
Studio publicity claimed actor Kamatari Fujiwara created the large kinetic sculpture, called "Yes" in the film, but the work was actually done by Robert Fields, a industrial design student at The School of The Art Institute of Chicago. The sculpture was set up on the ice rink of the Marina Towers apartment complex. See more »
Like seeing Lenny Bruce lost in a house of mirrors
This gritty surreal stumble through 1965 America is uncompromisingly downbeat. Like a last visit to the now absent locales featured in Diane Arbus photographs, it repels and attracts almost like a roadside museum of oddities. Apparently Lenny Bruce and Diane Arbus shared a passion for New York's infamous Hubert's Flea Circus and a Times Square movie theater that ran Todd Browning's "Freaks". This film captures that strange lost in the fun house feel also seen in Orson Welles' "Lady from Shanghai" climax . To add contrast Director Arthur Penn also interjects dreamy Playboy magazine moments between Warren Beatty and 1966 Playmate of the Year Donna Loren at a posh hotel. Stan Getz silky saxophone on the sound track provides Mickey One's one discernible connective thread. It dramatizes the observation that, "Just because you're paranoid doesn't mean they're not out to get you". Visually the film was so modern that audiences took at least 20-years to catch up to it.
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