Alan Tanner's new play opens in a week, but he just can't finish the third act. He's retreated to a snowbound cottage to work, but blonde neighbor Pat Quinn wants to play. Producer Arthur Layton sends Alice, Alan's first ex-wife, to help him stick to business. But then Daisy, his second ex-wife, shows up wanting her alimony. Stranded with two ex-wives, a girlfriend, and a jug of applejack, Alan still has to finish his play!
Ray Enright
Director
George Brent
Alan Tanner
Genevieve Tobin
Alice Merritt
Glenda Farrell
Daisy Lowell
Patricia Ellis
Pat Quinn
Frank McHugh
Orlando Rowe
John Eldredge
McBride
Porter Hall
Arthur Layton
Helen Lowell
Mrs. Canterbury
George Beranger
Costume Designer Maza (uncredited)
Jack Herrick
Pug Answering Phone in Gym (uncredited)
Olin Howland
Bridgeport Sheriff (uncredited)
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
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.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
What makes The Matrix saga fascinating is the symbolism of caves and trans allegories
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.
'Don't Lose Your Head' follows the motto of "grades aren't everything."