Turning the 1975 chiller "The Stepford Wives" into a campy comedy opens up a slew of movie-remake possibilities. Why not redo "The Boys From Brazil" as a musical or "The Exorcist" as a Mike Myers spoof? None is an especially good idea, but given Hollywood's current mania for remakes, sequels and redefinition of classic movie monsters, the new "Stepford Wives" represents the kind of lame brainstorm that finds its way onto a summer release schedule.
Assessing such a misbegotten film's chances at a time when Brad Pitt's pectorals evidently have salvaged the lackluster "Troy", perhaps Nicole Kidman's personality and beauty can overcome the movie's problems with tone and substance to bring boxoffice lucre to Paramount and DreamWorks. Certainly she and Bette Midler are the reasons why the film stands a chance.
The original film, based on Ira Levin's novel, tested the cultural waters of the then-emerging feminist movement to dare to suggest that angry white males would resort to creating a community of Barbie-doll wives -- robots, in fact -- to counter fears of change in the nuclear family. Like it or not, the film was meant as a cautionary sci-fi horror tale. The new film, written by Paul Rudnick and directed by Frank Oz, is a midnight-movie version.
Kidman plays Joanna Eberhart, an incredibly slick and emasculating bitch-goddess who reigns over the EBS television network, which, judging from her presentation at an affiliates meeting, must stand for the Egregious Broadcasting System. Her nasty mix of female-dominated game shows and reality TV backfires in her face, resulting in her highly unlikely firing. Her wimpy husband Walter (Matthew Broderick) quits his post as a minor vp at the web and the whole family abruptly moves to the gated township of Stepford, Conn., to begin a new life.
Only something is not quite right in suburban Stepford.
The women are all cookie-cutter sex dolls, while the men, who never seem to work, loll about the Stepford Men's Assn., slugging down brandy and playing adolescent games. This, Walter says, is "the way life should be." The den mother for the compliant female homemakers is Claire Wellington (Glenn Close), who along with her suave and controlling husband Mike Christopher Walken), pretty much runs the show.
Joanna's perturbed reaction to the women's cheerful domestic servitude is shared by two other newcomers: Bobbie Markowitz (Midler), brash, hip and Jewish -- making her the ultimate outsider in this WASPish community -- who writes male-bashing books, and Roger Bannister (Roger Bart), an architect trying to save a crumbling relationship with his politically conservative partner Jerry (David Marshall Grant).
Because the entire audience knows what's going on, the filmmakers hope to distract viewers from storytelling weaknesses with an urgent sense of style. The decor is 1950s, only cinematographer Rob Hahn's gentle lighting softens the solid colors and rigid formalism and gives a summery feel to flowery print dresses the Stepford wives all favor. The homes are all elegant mansions with sophisticated security systems and pleasing pastels.
But what is the comic point here? The film reportedly endured much rewriting, re-editing and reshooting, so there is a strong possibility the makers never addressed this before proceeding. In any event, the desire by the male characters for a retreat into '50s domestic values, while a rather obvious device, leaves the film with little wiggle room. Once the retro community gets revealed, the film stagnates. The only question is: Will the heroine be turned into a RoboJoanna by her husband? The ending is astonishingly inept. It resolves nothing and places the blame for creating this male fantasy on a woman. Say what?
Kidman, having moxie and sex appeal to spare, holds the movie together while Midler is her usual fun, rambunctious self. Bart has several good moments in an Americanized version of a Rupert Everett role. It might have been fun to witness how the Stepford husbands glory in this fantasy realm, but Rudnick's script offers scant opportunities. Jon Lovitz performs uninspired clowning playing Midler's husband, and the talented Broderick is wasted in a role that is the equivalent of wallpaper. Close and Walken play caricatures of their movie selves and everyone else, including Faith Hill as a malfunctioning robot wife, looks lost.
Technical credits are smooth including David Arnold's unobtrusive though effective score, De Govia's strong design and Ann Roth's tongue-in-cheek costumes.
THE STEPFORD WIVES
Paramount Pictures
Paramount Pictures and DreamWorks Pictures present a Scott Rudin/De Line Pictures production
Credits:
Director: Frank Oz
Screenwriter: Paul Rudnick
Based on the novel by: Ira Levin
Producers: Scott Rudin, Donald De Line, Edgar J. Sherick, Gabriel Grunfeld
Executive producers: Ron Bozman, Keri Lyn Selig
Director of photography: Rob Hahn
Production designer: Jackson De Govia
Music: David Arnold
Co-producer: Leslie Converse
Costume designer: Ann Roth
Editor: Jay Rabinowitz
Cast:
Joanna Eberhart: Nicole Kidman
Walter Kresby: Matthew Broderick
Bobbie Markowitz: Bette Midler
Mike Wellington: Christopher Walken
Roger Bannister: Roger Bart
Sarah Sunderson: Faith Hill
Claire Wellington: Glenn Close
Jerry Harmon: David Marshall Grant
Dave Markowitz: Jon Lovitz
Charmaine: Lorri Bagley
MPAA rating PG-13
Running time -- 93 minutes...
Assessing such a misbegotten film's chances at a time when Brad Pitt's pectorals evidently have salvaged the lackluster "Troy", perhaps Nicole Kidman's personality and beauty can overcome the movie's problems with tone and substance to bring boxoffice lucre to Paramount and DreamWorks. Certainly she and Bette Midler are the reasons why the film stands a chance.
The original film, based on Ira Levin's novel, tested the cultural waters of the then-emerging feminist movement to dare to suggest that angry white males would resort to creating a community of Barbie-doll wives -- robots, in fact -- to counter fears of change in the nuclear family. Like it or not, the film was meant as a cautionary sci-fi horror tale. The new film, written by Paul Rudnick and directed by Frank Oz, is a midnight-movie version.
Kidman plays Joanna Eberhart, an incredibly slick and emasculating bitch-goddess who reigns over the EBS television network, which, judging from her presentation at an affiliates meeting, must stand for the Egregious Broadcasting System. Her nasty mix of female-dominated game shows and reality TV backfires in her face, resulting in her highly unlikely firing. Her wimpy husband Walter (Matthew Broderick) quits his post as a minor vp at the web and the whole family abruptly moves to the gated township of Stepford, Conn., to begin a new life.
Only something is not quite right in suburban Stepford.
The women are all cookie-cutter sex dolls, while the men, who never seem to work, loll about the Stepford Men's Assn., slugging down brandy and playing adolescent games. This, Walter says, is "the way life should be." The den mother for the compliant female homemakers is Claire Wellington (Glenn Close), who along with her suave and controlling husband Mike Christopher Walken), pretty much runs the show.
Joanna's perturbed reaction to the women's cheerful domestic servitude is shared by two other newcomers: Bobbie Markowitz (Midler), brash, hip and Jewish -- making her the ultimate outsider in this WASPish community -- who writes male-bashing books, and Roger Bannister (Roger Bart), an architect trying to save a crumbling relationship with his politically conservative partner Jerry (David Marshall Grant).
Because the entire audience knows what's going on, the filmmakers hope to distract viewers from storytelling weaknesses with an urgent sense of style. The decor is 1950s, only cinematographer Rob Hahn's gentle lighting softens the solid colors and rigid formalism and gives a summery feel to flowery print dresses the Stepford wives all favor. The homes are all elegant mansions with sophisticated security systems and pleasing pastels.
But what is the comic point here? The film reportedly endured much rewriting, re-editing and reshooting, so there is a strong possibility the makers never addressed this before proceeding. In any event, the desire by the male characters for a retreat into '50s domestic values, while a rather obvious device, leaves the film with little wiggle room. Once the retro community gets revealed, the film stagnates. The only question is: Will the heroine be turned into a RoboJoanna by her husband? The ending is astonishingly inept. It resolves nothing and places the blame for creating this male fantasy on a woman. Say what?
Kidman, having moxie and sex appeal to spare, holds the movie together while Midler is her usual fun, rambunctious self. Bart has several good moments in an Americanized version of a Rupert Everett role. It might have been fun to witness how the Stepford husbands glory in this fantasy realm, but Rudnick's script offers scant opportunities. Jon Lovitz performs uninspired clowning playing Midler's husband, and the talented Broderick is wasted in a role that is the equivalent of wallpaper. Close and Walken play caricatures of their movie selves and everyone else, including Faith Hill as a malfunctioning robot wife, looks lost.
Technical credits are smooth including David Arnold's unobtrusive though effective score, De Govia's strong design and Ann Roth's tongue-in-cheek costumes.
THE STEPFORD WIVES
Paramount Pictures
Paramount Pictures and DreamWorks Pictures present a Scott Rudin/De Line Pictures production
Credits:
Director: Frank Oz
Screenwriter: Paul Rudnick
Based on the novel by: Ira Levin
Producers: Scott Rudin, Donald De Line, Edgar J. Sherick, Gabriel Grunfeld
Executive producers: Ron Bozman, Keri Lyn Selig
Director of photography: Rob Hahn
Production designer: Jackson De Govia
Music: David Arnold
Co-producer: Leslie Converse
Costume designer: Ann Roth
Editor: Jay Rabinowitz
Cast:
Joanna Eberhart: Nicole Kidman
Walter Kresby: Matthew Broderick
Bobbie Markowitz: Bette Midler
Mike Wellington: Christopher Walken
Roger Bannister: Roger Bart
Sarah Sunderson: Faith Hill
Claire Wellington: Glenn Close
Jerry Harmon: David Marshall Grant
Dave Markowitz: Jon Lovitz
Charmaine: Lorri Bagley
MPAA rating PG-13
Running time -- 93 minutes...
- 6/29/2004
- The Hollywood Reporter - Movie News
Amy Heckerling already has two smart, high-energy takes on high school teens in her filmography, so it's disappointing that "Loser", which looks at teens in college, lacks those very qualities. This third film focusing on youth and popular culture -- following "Fast Times at Ridgemont High" and "Clueless" -- never achieves a strong point of view and veers away from the one serious social issue it stumbles upon.
Her name and the names of two attractive and very much up-and-coming young actors, Jason Biggs and Mena Suvari, certainly provide the Columbia release with marquee value. The film should be a middle-range performer, drawing most of its audience from the 17-25 crowd.
The setting is a private New York City college for rich kids where the two protagonists are established as falling outside the hipster crowd. Biggs' Paul Tannek is very small-town. His geekiness is emphasized by a plaid hunter's hat, lame clothes and a need to study hard to maintain a scholarship.
Suvari's Dora Diamond is a diamond in the looks department, all right. But she must maintain a night job to make tuition, and her infatuation for a shallow and manipulative English professor (Greg Kinnear, clearly enjoying this turn as a nasty intellectual) places her off-limits to the male student body.
Where things go from here is all too predictable. The only slightly interesting kink to the plot development has Paul, after getting kicked out by his girl-chasing roommates, living in a veterinary hospital, which suddenly becomes the site for his ex-roomies' parties.
The mood is "romantic comedy lite" here. So it's startling when Heckerling, who also wrote the script, introduces an explosive social issue then fails to develop or deal with that issue. To get laid, Tannek's three ex-roomies scheme to slip knockout drugs into the drinks of young women. The subject of date-rape drugs not only jars with the movie's comic tone, but Heckerling fails to acknowledge the devastating impact such episodes have on women. It's just as inappropriate as dragging the Nazi Holocaust into the comic-book antics of last week's "X-Men".
Biggs and Suvari are hugely likable once again -- reuniting after last summer's hit "American Pie". While no Tracy and Hepburn yet, the duo produce enough sparks to actually work against the story line: Can't these two see they belong together?
The movie's biggest discovery, though, is the trio of truly despicable roommates. Tom Sadoski, reminding one of a young Steve Buscemi, has a smooth line delivery and makes an unmistakable impression on screen as a know-it-all who knows absolutely nothing. And Jimmi Simpson and Zak Orth each give a comic edge to outrageous amorality: Nothing they do, no matter how rotten, gives them the slightest qualm.
Together, the trio represent a new kind of college-movie "villain." In a genre where an egomaniacal athlete is traditionally the thorn in a college hero's side, these three demonstrate that pot-smoking, long-haired nerds can be just as odious.
Using a crew of long-time associates -- including cinematographer Rob Hahn, production designer Steven Jordan, costumer Mony May and editor Debra Chiate -- Heckerling has fabricated a sleek but unremarkable production using New York exteriors and Toronto interiors.
LOSER
Columbia Pictures
Producers: Amy Heckerling & Twink Caplan
Screenwriter-director: Amy Heckerling
Executive producer: John M. Eckert
Director of photography: Rob Hahn
Production designer: Steven Jordan
Music: David Kitay
Costume designer: Mona May
Editor: Debra Chiate
Color/stereo
Cast:
Paul Tannek: Jason Biggs
Dora Diamond: Mena Suvari
Adam: Zak Orth
Chris: Tom Sadoski
Noah: Jimmi Simpson
Professor Edward Alcott: Greg Kinnear
Dad: Dan Aykroyd
Gena: Twink Caplan
Running time - 98 minutes
MPAA rating: PG-13...
Her name and the names of two attractive and very much up-and-coming young actors, Jason Biggs and Mena Suvari, certainly provide the Columbia release with marquee value. The film should be a middle-range performer, drawing most of its audience from the 17-25 crowd.
The setting is a private New York City college for rich kids where the two protagonists are established as falling outside the hipster crowd. Biggs' Paul Tannek is very small-town. His geekiness is emphasized by a plaid hunter's hat, lame clothes and a need to study hard to maintain a scholarship.
Suvari's Dora Diamond is a diamond in the looks department, all right. But she must maintain a night job to make tuition, and her infatuation for a shallow and manipulative English professor (Greg Kinnear, clearly enjoying this turn as a nasty intellectual) places her off-limits to the male student body.
Where things go from here is all too predictable. The only slightly interesting kink to the plot development has Paul, after getting kicked out by his girl-chasing roommates, living in a veterinary hospital, which suddenly becomes the site for his ex-roomies' parties.
The mood is "romantic comedy lite" here. So it's startling when Heckerling, who also wrote the script, introduces an explosive social issue then fails to develop or deal with that issue. To get laid, Tannek's three ex-roomies scheme to slip knockout drugs into the drinks of young women. The subject of date-rape drugs not only jars with the movie's comic tone, but Heckerling fails to acknowledge the devastating impact such episodes have on women. It's just as inappropriate as dragging the Nazi Holocaust into the comic-book antics of last week's "X-Men".
Biggs and Suvari are hugely likable once again -- reuniting after last summer's hit "American Pie". While no Tracy and Hepburn yet, the duo produce enough sparks to actually work against the story line: Can't these two see they belong together?
The movie's biggest discovery, though, is the trio of truly despicable roommates. Tom Sadoski, reminding one of a young Steve Buscemi, has a smooth line delivery and makes an unmistakable impression on screen as a know-it-all who knows absolutely nothing. And Jimmi Simpson and Zak Orth each give a comic edge to outrageous amorality: Nothing they do, no matter how rotten, gives them the slightest qualm.
Together, the trio represent a new kind of college-movie "villain." In a genre where an egomaniacal athlete is traditionally the thorn in a college hero's side, these three demonstrate that pot-smoking, long-haired nerds can be just as odious.
Using a crew of long-time associates -- including cinematographer Rob Hahn, production designer Steven Jordan, costumer Mony May and editor Debra Chiate -- Heckerling has fabricated a sleek but unremarkable production using New York exteriors and Toronto interiors.
LOSER
Columbia Pictures
Producers: Amy Heckerling & Twink Caplan
Screenwriter-director: Amy Heckerling
Executive producer: John M. Eckert
Director of photography: Rob Hahn
Production designer: Steven Jordan
Music: David Kitay
Costume designer: Mona May
Editor: Debra Chiate
Color/stereo
Cast:
Paul Tannek: Jason Biggs
Dora Diamond: Mena Suvari
Adam: Zak Orth
Chris: Tom Sadoski
Noah: Jimmi Simpson
Professor Edward Alcott: Greg Kinnear
Dad: Dan Aykroyd
Gena: Twink Caplan
Running time - 98 minutes
MPAA rating: PG-13...
- 7/21/2000
- The Hollywood Reporter - Movie News
"In & Out" should go up and over at the boxoffice for Paramount. A warm farce about being "different," in this case gay, "In & Out" should tap the same appreciative moviegoers as those who warmed to such diverse, sleeper hits as "The Birdcage" and "Mr. Holland's Opus".
Those provincial L.A./N.Y. "geniuses" who predicted "Birdcage" wouldn't fly in the heartland will once again be flummoxed when they witness the strong middle-of-the-country outpouring for this Capra-esque comedy. Buoyed by the nimble lead performance of Kevin Kline, whom mainstreamers still remember affectionately for "Dave", this Spelling Films presentation is a frothy delight.
Loosely inspired by Tom
Hanks' "Philadelphia" Oscar acceptance speech in which he thanked his high school English teacher for nurturing his career, "In & Out" is fabricated around such an incident. In this fictional case, small-town English teacher Howard Brackett (Kline) is "outed" on the Oscar telecast when his former student, now a superstar of Brad Pitt depth, thanks his former teacher for his inspiration and offhandedly remarks that Brackett is gay.
That comment is a show-stopper, and for the unfortunate teacher, a life stopper. Engaged to be married, with the wedding only days away, Howard finds his life in immediate upheaval.
Prismed around a small, Jimmy Stewart-esque town in Indiana, "In & Out" makes gentle fun of prejudices and stereotypes and, in its broadest swath, cuts through the common human desire to conform to the norms of the herd. Alternately farcical and poignant, screenwriter Paul Rudnick's story presents a best-case scenario for nonconformity: In this case, Brackett is a caring, kind and intelligent person whose grace and goodness extend to all -- to his parents (Wilford Brimley, Debbie Reynolds), his fiancee (Joan Cusack) and his students. He's bright, charming and wise. The worst thing anybody can say about him is that he's well-groomed and likes Barbra Streisand.
Rudnick's most entertaining comedic darts center on the notion of masculinity, smartly lampooning macho behavior as well as the stereotypical swishery of gays. Overall, the satire is tipped with affection and respect, indicative of this broad comedy's basic goodness. Credit director Frank Oz for infusing the story with a good-hearted glow and lifting it with a lighthearted honor. While elitist correctniks may grouse about the film's sweeping nature and broad strokes, it is through these very wide, comic tones that one can best perceive the true essence of the film's pointed message -- tolerance.
"In & Out's" depth and breadth are due largely to the talent of its well-selected cast. Kline's engaging nature embraces memories of all those easygoing, decent sorts we've come to know and love in movies and TV -- next-door-neighbor types played by Stewart and Fred MacMurray. Most entertainingly, Kline translates his inner torments into a hilarious, slapstick quirkiness.
Tom Selleck, as an odiously vain TV newscaster, is a terrific whirl of conceit and compassion. Selleck's spry shadings enliven what a lesser performer might have rendered stereotypical. Others are outstanding, including Matt Dillon as the vapid star and Cusack as the adoring fiancee. And Bob Newhart's performance as the beleaguered high school principal is on-target funny.
Under Oz's gentle hand, the tech contributions are appropriately glowing. Praise to cinematographer Rob Hahn for the inviting sheens and to production designer Ken Adam for the freshly painted look of this front-porch film.
IN & OUT
Paramount Pictures
Spelling Films presents
a Scott Rudin production
A Frank Oz Film
Producer Scott Rudin
Director Frank Oz
Screenwriter Paul Rudnick
Executive producer Adam Schroeder
Co-producer G. Mac Brown
Director of photography Rob Hahn
Production designer Ken Adam
Editors Dan Hanley, John Jympson
Costume designer Ann Roth
Music Marc Shaiman
Casting Margery Simkin
Color/stereo
Cast:
Howard Brackett Kevin Kline
Emily Montgomery Joan Cusack
Peter Malloy Tom Selleck
Cameron Drake Matt Dillon
Berniece Brackett Debbie Reynolds
Frank Brackett Wilford Brimley
Tom Halliwell Bob Newhart
Walter Brackett Gregory Jbara
Sonya Shalom Harlow
Running time -- 90 minutes
MPAA rating: PG-13
IN & OUT
Paramount Pictures
Spelling Films presents
a Scott Rudin production
A Frank Oz Film
Producer Scott Rudin
Director Frank Oz
Screenwriter Paul Rudnick
Executive producer Adam Schroeder
Co-producer G. Mac Brown
Director of photography Rob Hahn
Production designer Ken Adam
Editors Dan Hanley, John Jympson
Costume designer Ann Roth
Music Marc Shaiman
Casting Margery Simkin
Color/stereo
Cast:
Howard Brackett Kevin Kline
Emily Montgomery Joan Cusack
Peter Malloy Tom Selleck
Cameron Drake Matt Dillon
Berniece Brackett Debbie Reynolds
Frank Brackett Wilford Brimley
Tom Halliwell Bob Newhart
Walter Brackett Gregory Jbara
Sonya Shalom Harlow
Running time -- 90 minutes
MPAA rating: PG-13...
Those provincial L.A./N.Y. "geniuses" who predicted "Birdcage" wouldn't fly in the heartland will once again be flummoxed when they witness the strong middle-of-the-country outpouring for this Capra-esque comedy. Buoyed by the nimble lead performance of Kevin Kline, whom mainstreamers still remember affectionately for "Dave", this Spelling Films presentation is a frothy delight.
Loosely inspired by Tom
Hanks' "Philadelphia" Oscar acceptance speech in which he thanked his high school English teacher for nurturing his career, "In & Out" is fabricated around such an incident. In this fictional case, small-town English teacher Howard Brackett (Kline) is "outed" on the Oscar telecast when his former student, now a superstar of Brad Pitt depth, thanks his former teacher for his inspiration and offhandedly remarks that Brackett is gay.
That comment is a show-stopper, and for the unfortunate teacher, a life stopper. Engaged to be married, with the wedding only days away, Howard finds his life in immediate upheaval.
Prismed around a small, Jimmy Stewart-esque town in Indiana, "In & Out" makes gentle fun of prejudices and stereotypes and, in its broadest swath, cuts through the common human desire to conform to the norms of the herd. Alternately farcical and poignant, screenwriter Paul Rudnick's story presents a best-case scenario for nonconformity: In this case, Brackett is a caring, kind and intelligent person whose grace and goodness extend to all -- to his parents (Wilford Brimley, Debbie Reynolds), his fiancee (Joan Cusack) and his students. He's bright, charming and wise. The worst thing anybody can say about him is that he's well-groomed and likes Barbra Streisand.
Rudnick's most entertaining comedic darts center on the notion of masculinity, smartly lampooning macho behavior as well as the stereotypical swishery of gays. Overall, the satire is tipped with affection and respect, indicative of this broad comedy's basic goodness. Credit director Frank Oz for infusing the story with a good-hearted glow and lifting it with a lighthearted honor. While elitist correctniks may grouse about the film's sweeping nature and broad strokes, it is through these very wide, comic tones that one can best perceive the true essence of the film's pointed message -- tolerance.
"In & Out's" depth and breadth are due largely to the talent of its well-selected cast. Kline's engaging nature embraces memories of all those easygoing, decent sorts we've come to know and love in movies and TV -- next-door-neighbor types played by Stewart and Fred MacMurray. Most entertainingly, Kline translates his inner torments into a hilarious, slapstick quirkiness.
Tom Selleck, as an odiously vain TV newscaster, is a terrific whirl of conceit and compassion. Selleck's spry shadings enliven what a lesser performer might have rendered stereotypical. Others are outstanding, including Matt Dillon as the vapid star and Cusack as the adoring fiancee. And Bob Newhart's performance as the beleaguered high school principal is on-target funny.
Under Oz's gentle hand, the tech contributions are appropriately glowing. Praise to cinematographer Rob Hahn for the inviting sheens and to production designer Ken Adam for the freshly painted look of this front-porch film.
IN & OUT
Paramount Pictures
Spelling Films presents
a Scott Rudin production
A Frank Oz Film
Producer Scott Rudin
Director Frank Oz
Screenwriter Paul Rudnick
Executive producer Adam Schroeder
Co-producer G. Mac Brown
Director of photography Rob Hahn
Production designer Ken Adam
Editors Dan Hanley, John Jympson
Costume designer Ann Roth
Music Marc Shaiman
Casting Margery Simkin
Color/stereo
Cast:
Howard Brackett Kevin Kline
Emily Montgomery Joan Cusack
Peter Malloy Tom Selleck
Cameron Drake Matt Dillon
Berniece Brackett Debbie Reynolds
Frank Brackett Wilford Brimley
Tom Halliwell Bob Newhart
Walter Brackett Gregory Jbara
Sonya Shalom Harlow
Running time -- 90 minutes
MPAA rating: PG-13
IN & OUT
Paramount Pictures
Spelling Films presents
a Scott Rudin production
A Frank Oz Film
Producer Scott Rudin
Director Frank Oz
Screenwriter Paul Rudnick
Executive producer Adam Schroeder
Co-producer G. Mac Brown
Director of photography Rob Hahn
Production designer Ken Adam
Editors Dan Hanley, John Jympson
Costume designer Ann Roth
Music Marc Shaiman
Casting Margery Simkin
Color/stereo
Cast:
Howard Brackett Kevin Kline
Emily Montgomery Joan Cusack
Peter Malloy Tom Selleck
Cameron Drake Matt Dillon
Berniece Brackett Debbie Reynolds
Frank Brackett Wilford Brimley
Tom Halliwell Bob Newhart
Walter Brackett Gregory Jbara
Sonya Shalom Harlow
Running time -- 90 minutes
MPAA rating: PG-13...
- 9/11/1997
- The Hollywood Reporter - Movie News
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