May is waiting for her boyfriend in a run-down American motel, when an old flame turns up and threatens to undermine her efforts and drag her back into the life that she was running away from. The situation soon turns complicated.
A fictionalized former President Richard M. Nixon offers a solitary, stream-of-consciousness reflection on his life and political career - and the "true" reasons for the Watergate scandal and his resignation.
A parody and satire of the U.S. political scene of the time, HealtH is set at a health food convention at a Florida luxury hotel, where a powerful political organization is deciding on a new president.
This is an insane and fast-paced romantic comedy about a bizarre dinner date among Bruce (Goldblum) and Prudence (Hagerty), and their lunatic therapists, and Bruce's jealous, gun-wielding ... See full summary »
The familiar tragic story of Vincent van Gogh is broadened by focusing as well on his brother Theodore, who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.
O.C. and Stiggs aren't your average unhappy teenagers. They not only despise their suburban surroundings, they plot against it. They seek revenge against the middle class Schwab family, who embody all they detest: middle class.
May is hiding out at an old motel in the Southwest. Eddie, his half-brother, also an old flame shows up. He threatens her metaphorically and, at times, literally drag her back into the life she had fled from. The film focuses on the couple's fluctuating past and present relationships, and the dark secrets hidden within, including one from an old man who lives near the motel (Harry Dean Stanton).
Interesting, worthwhile, if not totally successful adaptation of the play.
Interesting, laid back version of the Shepherd play. On stage, with Ed Harris in the lead, it was all frenetic energy and danger. Here the piece is more moody and dreamlike. At times that works tremendously well, and it is visually beautiful. The play has been opened up in a way that feels natural and not forced. And the use of narration is very interesting and productively unsettling, since the memories we see do not quite match the words we hear.
On the other hand, the slower pace makes the writing feel more melodramatic and almost old- fashioned in its twists. And Shepherd is nowhere near as interesting as Harris was on stage. We never feel that he is really dangerous. He comes off more as a love-struck kid than obsessed man. And it ends with a whimper, not a kick. Still, there are plenty of less interesting theater to film adaptations out there.
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