Two criminals, Keats and Moses, end their friendship, when Keats turns out to be an undercover cop. Many years later, the two are forced to work together when Keats is assigned to protect Moses as a witness.
With the help of a talking freeway billboard, a wacky weatherman tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early 1990s Los Angeles.
Richard E. Grant
Sgt. Bilko is a well-liked conman in charge of the army base's motor pool, developing a hover tank and unofficially of gambling etc. One man hates Bilko and he's coming to inspect the base for possible closure.
Shakes plods about his duties as party clown, and uses all of his free time getting seriously drunk. Binky, another clown, wins the spot on a local kiddie show, which depresses Shakes even ... See full summary »
Philip runs a crisis hotline with Catherine and Mrs Munchnik. That's the easy part, now it gets tricky... Stanley loves evicting people and he evicts Philip. Philip loves helping people and he is loved by Catherine. Catherine is loved by Louie who loves writing songs. Chris loves dancing to songs and loves to wear large dresses. Gracie also loves to wear large dresses because she's pregnant. She loves the baby's father, Felix, who loves to paint. That just leaves Mrs. Munchnik who hasn't been loved by anybody in a very long time.Written by
Tim McSmythurs <Tim.McSmythurs@swindon.ericsson.se>
one more proof that remakes don't compete with originals
I was maybe hoping too much from an American remake of a French movie: I was wrong once more: "Mixed Nuts" is nothing else but a total waste of time and money, compared to the original "Le père Noël est une ordure" (litterally "Santa Claus is a ba..rd")an eternal hilarious classic, but maybe unadaptable after all. I don't say that because I am French (some US remakes of French movies -though not numerous- are excellent and well adapted, such as "True lies" with Schwarzy and Jamie Lee Curtis, "Sommersby" with Richard Gere and Jodie Foster,etc.), but because I definitely think it's no use to "americanize" what is typically French (or from another country), or one looses the main spirit. It's always better-than-nothing to dub the original dialog (I know American audience don't like to read subtitles, too bad as original actors are always "betrayed"); another perfect bad example of adaptation is the 1996's "The Bird Cage" with the-not-funny-at-all-even grotesque-Nathan Lane, vs the wonderful, sensitive and incredibly hilarious Michel Serrault in the original French/Italian "La cage aux Folles", (actually same story/dialog almost to the line in the US version, so why bother?)
Finally, I appreciate very much US movies (in original version s'il vous plait!)for what I mostly expect from them: action, special effects, extraordinary CGIs, glamor,etc. We French are different, accept that and enjoy our movies too (1% of the US market only)! R.E.S.P.E.C.T.!
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