Four socialites unexpectedly clash: heiress Brooke Carter runs into gambler Johnny Spanish at the race track while playboy Michael O. Pritchard nearly runs into stage star Kitty O'Kelly with his car. Backstage at Kitty's show, it turns out she and Brooke are old friends who attended public school together. The foursome do the town, accompanied by Brooke's companion Elizabeth, who throws herself at Michael's butler and chauffeur Rodney James.
Peter Bogdanovich
Director
Burt Reynolds
Michael Oliver Pritchard III
Cybill Shepherd
Brooke Carter
Madeline Kahn
Kitty O'Kelly (Kathy Krumm)
Duilio Del Prete
Johnny Spanish (Giovanni Spagnoli)
Eileen Brennan
Elizabeth
John Hillerman
Rodney James
Mildred Natwick
Mabel Pritchard
Quinn K. Redeker
Kitty's Boyfriend
J. Edward McKinley
Billings (Poker Party)
John Stephenson
Abbott (Poker Party)
Peter Dane
Williams (Poker Party)
When you don’t factor in the plethora of inferior sequels that have been produced, Luca is one of Pixar’s simplest and most unassuming films in years — and there is absolutely nothing wrong with that. The film thrives on being a visual feast with a warm message for all ages, so much so that its unoriginal storyline doesn’t feel that big of a problem.
This film is a splendid mix of mediums, but its strength lies in its simplicity and beautiful message of closeness.
"Black Widow" has strong female characters but sidelines its title character and serves as a launchpad for her successor, Florence Pugh's Yelena.
Carolina Caroline follows Caroline (Samara Weaving), a bored young woman dreaming of escaping a small Texas town where nothing ever happens. When she meets Oliver (Kyle Gallner) at her workplace while he is conning the owner, she sees her perfect opportunity to get out. Their whirlwind romance strongly echoes Bonnie and Clyde, as the two quickly embark on a bank-robbing spree.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
Bollywood's thrilling fusion of what the blind man saw and the boy who cried wolf.