Edwina has just moved into the neighborhood known as "Widows' Peak," so called due to the prevalent marital status of the residents, who tend to be a rather exclusive bunch. The residents ...
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Famous 1920s modernist US writer F. Scott Fitzgerald and his eccentric Flapper socialite wife Zelda Sayre's relationship began quite passionately, but he slowly fell into alcoholism and she was eventually diagnosed with schizophrenia.
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An NTSB investigator seeking the cause of an airline disaster meets a warrior woman from 1000 years in the future. She replaces the people from airplanes before they crash with corpses with the same features.
Daniel J. Travanti
Americans want to take over the Irish creamery Angela Mooney's husband built up. Everybody in town is delighted, with the exception of Mrs Mooney, who has her own reasons for being opposed to the sale of the business.
Edwina has just moved into the neighborhood known as "Widows' Peak," so called due to the prevalent marital status of the residents, who tend to be a rather exclusive bunch. The residents are all curious about their new neighbor, but no one can seem to get much information about her, including queen bee Mrs. DC, whose son is busy wooing Edwina. Miss O'Hare and Edwina have an immediate dislike for each other, however, and soon some accidental encounters begin to look like Edwina is trying to ruin her new rival. The problems escalate and the town is in an uproar, but they get no closer to solving the mystery of the newcomer.Written by
Ed Sutton <firstname.lastname@example.org>
Undernourished costume drama from writer Hugh Leonard and director John Irvin, with Natasha Richardson playing pretty war widow from 1920s England who comes to gossip-laden town in Ireland and gets on the wrong side of a surly spinster (Mia Farrow, looking wrung-out). This small Irish village is beset with the usual gaggle of hot-headed supporting characters, all sounding off on cue as if they were on stage. Poor in nearly every department: the color photography is bad, the twist at the finish is outlandish, and the handling is skittish and lumpy. One can only imagine the team of Merchant-Ivory expanding the central idea of this piece, giving that final twist a few more screws and applying more gloss and luster to the production. Alas, that panache just isn't present. *1/2 from ****
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