When a deported gangster dies in Italy, the U.S. Treasury Department is very interested in the one million dollars Madigan owed the government, but managed to take to Italy with him. They ... See full summary »
A fictional account of the real life, eleven day, never explained 1926 disappearance of famed murder mystery writer Agatha Christie is presented. On a cold winter day, her damaged car with ... See full summary »
In middle age, inventor Stephen Minch is happy enough with his life, despite the fact that he has never risen to prominence even though his innovations have made others rich. His wife ... See full summary »
It's the morning after John and Mary's first sexual encounter with each other, which took place in his New York City loft apartment. They had only met for the first time the previous evening at a crowded trendy pick-up bar. They are both uncomfortable with the situation but don't want to show that discomfort to the other. They both realize that they don't know anything substantial about the other - including not even knowing each other's name - as each tries through whatever secret means to find out with who he/she just slept. As they slowly find out more about the other, they inject their own perception into the information, which is sometimes not quite reality. Over the next few hours, they, together and individually, will try to determine if there is any potential future for them, which includes their thoughts about the current most significant other in their respective lives, one who is more significant than the other, and their feelings about what they think the other person is ...Written by
A casual romance so noncommittal it's practically non-existent...
A single man and woman, having met in a bar the night before, wake up together in bed "the morning after" but can't decide where to go from there. Two charismatic leads (Dustin Hoffman just after "The Graduate" and Mia Farrow post-"Rosemary's Baby") try enlightening a terribly flat screenplay, but the sluggish narrative and sterile atmosphere make it impossible. The fluid flashbacks and flights-of-fancy help fill in the gaps, but the problem is the main characters and their dialogue. Farrow's Mary is all over the place: guarded and vague (and a little rude), and then sheepish and huggable; Hoffman's John is suspicious and cynical, but yielding. Some of their thoughts and emotions ring true, but the follow-up to all this is pure fantasy. "John and Mary" could certainly use a little whimsy--yet after all that fashionable cynicism, the old-fashioned finale is rather tough to swallow. ** from ****
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