New York trapper Tom Dobb becomes an unwilling participant in the American Revolution after his son Ned is drafted into the Army by the villainous Sergeant Major Peasy. Tom attempts to find... See full summary »
It's a hot summer day in 1933 in South Philly, where 12-year old Gennaro lives with his widowed mom and his ailing grandpa, who sits outside holding tight to his last quarter, which he's ... See full summary »
Mary Elizabeth Mastrantonio,
Johnny on his release from his jail joins the restaurant where Frankie works. Johnny discovered his talent for cooking when in jail. Love at first sight bites Johnny on seeing Frankie. He makes direct attempts to get her heart. But deep a wound in Frankie's heart would not let her give her heart to Johnny. Johnny's divorced wife and kids have moved to a new world of a different person. Frankie opens up her tragic story and Johnny promises to be with her in difficult times.Written by
Thejus Joseph Jose
When Johnny and Cora have just finished having sex, there is a shot of Cora looking down on Johnny with her hair very disheveled, and her make up all undone, and she looks very hot and bothered. The scene cuts to Johnny on the bed for a few seconds, then back to Cora whose face and hair now suddenly looks completely redone, her make up is fine, her hair is beautifully in place, and she looks totally calm and cool. See more »
I don't date, by choice.
Too bad, because I love your choices. We went from Mr. Abuse You to Mr. Use You, plus a Christmas fling with a cross-dresser that I blew the whistle on, thank you very much.
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A romantic, popcorn-and-wilted-roses kind of comedy-drama...
You have to give the filmmakers credit: they did attempt to deglamorize Michelle Pfeiffer to fit into Kathy Bates' off-Broadway role of a waitress with no prospects who finds herself attracted to the new cook at the restaurant. Michelle's innate sparkle manages to shine through the dowdy clothes and plain-Jane appearance, and yet the miraculous thing is, her casting doesn't hurt the movie and her performance is one of the best things about "Frankie and Johnny". Pfeiffer and Al Pacino are a good screen match, and if they don't especially resemble the characters they're playing, they at least don't throw the tone out of whack (this is a Garry Marshall movie after all, so it's bound to have a bumpy narrative). Terrence McNally's play was about hard truths and sex on a low income; this is a big, charming commercial comedy-drama, directed with energy but no real flair. Pacino lays on the Prince Charming-pizazz a bit heavily, and Nathan Lane works overtime at being adorable as the proverbial gay best friend, but it certainly isn't a bad movie. It works on a certain level, even if it doesn't resemble reality or the original play. *** from ****
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