Porter Stoddard is a well-known New York architect who is at a crossroads... a nexus where twists and turns lead to myriad missteps, some with his wife Ellie, others with longtime friends ...
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The remake of the 1970 Neil Simon comedy follows the adventures of a couple, Henry and Nancy Clark, vexed by misfortune while in New York City for a job interview.
The US needs to convince the visiting emir Khala'ad of Othar to allow an American military base in his strategic realm. Clueless nightclub waitress Sunny Ann Davis accidentally spots and ... See full summary »
Director:
Herbert Ross
Stars:
Goldie Hawn,
Chris Sarandon,
Richard Romanus
Lavinia and Suzette, former rock groupies and best friends, reconnect after twenty years; one is still as wild as ever, while the other has adopted a more conservative lifestyle.
A marriage that seemed perfect comes crashing down after the death of Jack Saunders, husband of Adrienne Saunders. Strange developments begin to be discovered by Adrienne regarding Jack's ... See full summary »
Porter Stoddard is a well-known New York architect who is at a crossroads... a nexus where twists and turns lead to myriad missteps, some with his wife Ellie, others with longtime friends Mona and her husband Griffin. Deciding which direction to take often leads to unexpected encounters with hilarious consequences.Written by
Sarah Lean <Sarah.Lean@talk21.com>
When Porter and Griffin are having lunch in the hotel the girl (who becomes Porter's first affair) is playing a double bass in the lobby. The soundtrack music, apart from being very obviously not synchronised with what she is playing, is a viola or possibly violin - definitely not a bass. See more »
Quotes
Eugenie:
Mother, I think you really have a problem.
Eugenie's Mother:
You're damned right I have a problem. He won't do it to me anymore. Yes, his limp carrot is the root of all my problems. All my doctors tell me so. Every motherfucking one of them.
[Raises glass]
Eugenie's Mother:
Fucking. Going upstairs.
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You have to wonder what combination of roofies and blackmail
New Line's former kingpin Michael DeLuca used to lure Warren
Beatty into this grotesque travesty of a Philip Barry comedy. TOWN
& COUNTRY is one of those rare movies that preoccupy you for
their entire running time with questions bearing in no way on the
story onscreen. Questions like: How did this get greenlit? Why
would someone send a comedy into production with no script?
Why would someone let a comedy finish production with no script?
Did these very gifted people (there are good, hard-working, clean
and industrious performances from Beatty, Diane Keaton, Goldie
Hawn, Jenna Elfman and Nastassja Kinski) think this was funny
when they read it? When they were shooting it? Did the crew just
kind of stand there in stony silence?
Considering the combined ages of the cast, and the movie's
splashy failure in an era where teen mediocrities rule the earth,
and the movie's damage to the career of its director, Peter
Chelsom, a talented man who's not to blame, the whole thing
provokes, not bitchy snickers, but a sigh of profound sadness.