A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusion from their leader.
Two horror tales based on short stories by Edgar Allan Poe directed by two famous horror directors, George A. Romero and Dario Argento. A greedy wife kills her husband, but not completely. A sleazy reporter adopts a strange black cat.
Chris Bradley is a young man who returns to his home city of Pittsburgh after several years of drifting and working odd jobs around the country since his discharge from the U.S. Army. Rejecting moving back in with his father and not wanting to return to the family business of manufacturing baby food, Chris meets and shacks up with Lynn, an older woman who works as a model in local TV commercials, and whom becomes his 'sugar mama' of supporting him financially and emotionally, which begins to put a strain on the affair especially when Lynn finds out that she's pregnant and does not feel that Chris would make a responsible father or husband. Written by
Briefly seen just after the 54 minute mark, the clapboard for the commercial shoot reads "ROMERO." See more »
Chris... why don't you let me send you back to school? I might as well put my money to good use.
No thanks, Dad, I don't want to hold back my education.
You better come down out of those clouds, boy... or you're not going to be worth the powder to blow you to hell.
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The house seems to be divided on this one, so let me break the deadlock
with a rave review: this is one terrific little movie. Funny,
surprising, sharply directed, engagingly written (great movie line:
"our very existence depends on that beer"), well performed, and
absorbing all the way. Great title, too! (Yes, it is explained in the
film.) As Jonathan Rosenbaum has pointed out, There's Always Vanilla is
highly evocative of the early 70s; and like many timely films of that
era, it has been unjustly neglected. A realistic romantic comedy with a
deft side-take on television and advertising, it turns interestingly
serious in an abortionist sequence that illuminates the era of Roe v.
Wade. Lead actor Raymond Laine is a find, charming yet believable. This
movie is only screened very occasionally, and the print I saw (with the
less memorable alternate title The Affair) is unfortunately
color-faded. But if you ever get the chance to see this, it is a must.
Romero at his best.
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