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Good Fences is about an upwardly mobile black family for whom the American dream becomes a nightmare. Set in the 1970s, Tom Spader is an attorney who is determined to end what he has dubbed... See full summary »
Ernest R. Dickerson
Zachary Simmons Glover
Bunny (Angell Conwell) and Carlyle (Lyriq Bent) are roommates and have been best friends since college. Despite their undeniable attraction for one another, they have managed to keep their ... See full summary »
Fred Thomas Jr.
Jessica E. Brandon,
Jeff and Mari Thompson have been married for fifteen years. Although their marriage is not perfect, they are seemingly happy in their married and family life. But all their married friends seem to be getting divorced or separated. These newly single friends try to convince both Jeff and Mari - together and individually - that divorce is the way to go. Even if they do decide to remarry, it will be an inevitability that that marriage too will end in divorce. And divorce can even re-energize the love in an otherwise stale marriage. In light of these assertions by their friends, Jeff and Mari do evaluate their marriage. Their friends also place each of them in potentially compromising positions, despite the fact that they still are married. Will Jeff and Mari's marriage be able to withstand all this outside pressure?Written by
Bluish comedy with an underlining moral...adult peer pressure leading to extramarital activities
George Segal and Natalie Wood portray an upper-class married couple in Los Angeles who find they are the last of a dying breed: all the men and women within their circle of friends are separated from their spouses, divorced, or on the make. Occasionally smart and amusing screenplay by John Herman Shaner doesn't take a righteous stand on the sexy goings-on, though Shaner is quick to point out the pitfalls of the swinging middle-ager (impotency, venereal disease, unfulfilled coupling). Gilbert Cates directs it like an R-rated TV show, though some of the intended bite (laced with grown-up, witty humor) manages to come through, and the cast is good--however less of hammy Dom DeLuise would have been an improvement. Wood, in particular, shows a great deal of growth since her not-dissimilar dalliance with sexual inhibitions in 1969's "Bob & Carol & Ted & Alice"; she's surprisingly loose and physical here, and works comfortably with Segal, though George himself is rather wrung-out. With the sexual revolution of the 1970s fading fast upon its release, the film didn't stand a chance at the box-office, but parts of it are very funny and trenchant and have held up well. ** from ****
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