In a film based on Neil Simon’s hit play, Walter Matthau portrays three unconnected roles. Sam Nash reluctantly joins his wife, Karen (Maureen Stapleton), in the suite where they spent their honeymoon, hoping to revive their flagging marriage. Then Jesse Kiplinger, an aging movie producer, is determined to seduce his old flame, Muriel (Barbara Harris). Finally, Matthau is beleaguered father Roy Hubley who, with his wife, Norma (Lee Grant), struggles to get their daughter to her own wedding.
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An amateur photographer watches a beautiful woman emerge from a beach hut and disappear into the sea.
A family trip which transforms into a tragicomic psychological drama. Claiming that it was her son’s wish, Grandma Valerie is determined to transfer his urned remains from the small Czech town to their native Slovakia. Her daughter-in-law accompanies her, as do her two adult granddaughters, one nearing the end of her pregnancy with a five-year-old in tow, the other with her husband. Tense relations and conflict come to a head along the way, and the truth erupts from under layers of pretence and deferential consideration. The truths revealed are at times surprising, at others bitter or even comic, but always cleansing.
With the help of a couple of her oddball friends, a woman takes her former lesbian lover to a hotel to convince her that their affair shouldn’t end. After much shouting and some sex, things complicate when the lover’s husband shows up.
An outlaw, the Llano Kid is the scourge of south Texas and a Bible quoting lawman named Thacker. The kid joins a con man in a plot to deceive a wealthy old woman that he’s her long-lost son and heir. Traveling to Mexico, move into the luxurious hacienda, but the Kid soon grows to love the woman and the beautiful neighbor Consuelo. He turns on his partner and the lawman from Texas is still on his trail.
“Freaks” meets “X-Men” in this twisted, politically incorrect sci-fi satire from outlaw Spanish auteur Alex de la Iglesia (“The Day of the Beast”) and producer Pedro Almodovar. A band of handicapped and mutant terrorists attacking society’s standards of physical beauty kidnap a pretty socialite. The outlaws take her to a distant planet in hopes of getting big dough from her bakery tycoon father, but all hell breaks loose when they discover their leader has his own plans for the hostage and the ransom.
Columbia’s Once to Every Woman was the first of A. J. Cronin’s medical novels to be adapted for the screen. The drama of the piece hinges on the conflict between brilliant young surgeon Barclay and crusty hospital head Dr. Selby. On another, less-crucial front, Barclay and playboy physician Preston vie for the attentions of pretty nurse Miss Farnshawe. The story comes to a tension-laden climax as Barclay prepares for a delicate brain operation — a revolutionary procedure which has been opposed by Dr. Selby throughout the picture. Once to Every Woman was scripted by frequent Frank Capra collaborator Jo Swerling.