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
Dad, I just don't want to go to work in your baby food factory. And, I don't want to sell vacuum cleaners. I don't want to sell little toy plastic aircraft carriers. I don't wanna... I don't know what I want.
Chris, I think I understand what you're talking about. A little bit anyway. But these problems are a little bit like going to Howard Johnsons for some ice cream. You can get all kinds of wild, exotic flavors. But somehow, you always wind up with vanilla.
Oh, Jesus Christ, Dad, I could cry!
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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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