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"An awkward young teen working at a spa becomes overly attached to her fellow worker, a lonely outcast. They hang out at a bar owned by a strange pregnant artist and her has-been cowboy husband. Amid emotional crises, the three women steal and trade one another’s personalities." - Do they? Do they though? With less than ten minutes remaining the 3rd of these 3 women gets her first line. And some of those minutes was credits. Now a poorly written logline is unlikely to be the fault of the movie itself, but it does kind of make me question why the movie's even called _3 Women_. Decent chance I'm just not bright enough to understand it, let alone the movie itself for that matter, but I can only bring you a review from how I experienced it, and from that perspective I can say: It's alright. A lot of the style choices did aggravate me, most notably the music (I've suffered through much worse for far less with this subject, but it was still a negative to me). But the two lead performances are what the movie is predominantly hinged on, and both are pretty good. Not **incredible**, but pretty good. I know not adoring this puts me in the minority, but I feel like a lot of people nowadays tend to overvalue a film for no other reason than the fact that it was made before... like... 1987. That's never been a factor for me, and 3 Women honestly didn't do a lot for me. _Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
White hunter Allan Quartermain and his enigmatic guide help a young Irish woman locate her missing father in unexplored Darkest Africa.
Before disappearing in the Mojave Desert, Robbie Zagorac captured love, life and heartbreak in a video diary.
After a newlywed's husband apparently dies in a plane crash, she discovers that her rival for his affections is pregnant with his child.
Ashley was raised in a picture perfect all-American family with two moms, two grandpas, two uncles, and a little brother. But Ashley has a problem, she has a crush on a boy at school, which is against everything this world has ever taught her.
When Terri Hansen (Mary McDonnell) emerges from a fiery car crash as a widow, the local sheriff at first believes her account of the accident. But there's a snag in her story. Namely, a bullet in her dead husband. Just what did happen on that dark desert road? Through a series of telling flashbacks, we and the jury learn the bizarre truth. Randy Quaid and Sam Elliott costar in this riveting drama.
Both original and incredibly romantic, Redwoods tells the story of an already-partnered man whose love is tested when a mysterious drifter passes through his small Northern California town.
Young real estate agent Clara Morales encouraged risky loans to her clients during the housing boom. She must now rescue her father’s home from foreclosure - a consequence of the loan she advised him to take.
Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. (from bfi.org.uk)
Goodbye Philippines surveys an undead landscape, textured by phantoms. It is as if this feeling of a legacy regards tradition and cultural custom as memories repossessed by the setting.
A woman is taken along with her mother in 1910 to a far-away desert by her husband, and after his passing, is forced to spend the next 59 years of her life hopelessly trying to escape it.
