Two quirky Manhattanites crash into each other at an ophthalmologist's office. Peter is a grouchy cartoonist/author whose vision is failing; divorced mother Theresa is also reluctant to ... See full summary »
A married man enters his boss' apartment to sign papers for a promotion and finds a party of 200 instead. He doesn't fit in, leaves with a woman, spends all night with her, falls in love with her and finds out she's his boss' wife.
Harvey and Gillian Fairchild face a very difficult weekend. Harvey, celebrating his 60th birthday, is stressed and depressed. Gillian is awaiting the results of a throat biopsy. Their lives... See full summary »
Harry is a barely functional human. He meets an old friend who is having marital problems as Harry is about to leap off of a bridge. His friend decides that Harry is the man to take his ... See full summary »
Bill Cosby and Robert Culp ("I Spy") are united again as private eyes in this Walter Hill-scripted "film noir." Searching for a missing girl, they find themselves involved with vicious criminals and precipitating a string of deaths.
Alex and the gypsy are two volatile people--and that's one too many
Genevieve Bujold plays a modern day gypsy fortune teller out of jail on $30,000 bail after trying to kill her husband; her bail bondsman is Jack Lemmon, a cigar-smoking, middle-aged burn-out who has a long, colorful history with the girl. The narrative takes a past-and-present look at their relationship. Years before, Alex became enamored of the virginal gypsy girl after rescuing her from her angry family; today, he's exasperated with her unpredictable behavior, lashing out at her for trying to skip town (and handcuffing her to the bedpost while they make love). Character portrait with not-uninteresting milieu but a pushy John Korty direction and terrible, offensive dialogue. It takes real hacks to make a nuisance of Lemmon and Bujold, and neither star comes out of this debacle looking good. Henry Mancini's score--plaintive plucks on a Spanish guitar--underlines the 'introspective' moments hoping, one presumes, to create pathos. * from ****
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