Details
Movie Description
Danny DeVito directs this black comedy about a long-married couple in the throes of divorce at the height of the materialistic 1980s, and his second feature far surpasses his first effort, THROW MOMMA FROM THE TRAIN, in style, substance, and comedic impact. Barbara and Oliver Rose were the perfect couple--he was a prominent Washington lawyer, she had a wildly successful catering business, they had a great house, great art, great cars and great kids. But when Barbara begins to wonder about life without Oliver, she likes what she sees and sues for divorce; unfortunately, neither of them likes the prospect of life without their opulent home, and war is waged to determine who will keep it. The pair become increasingly outlandish in their battle tactics, moving from cunning to cruel to outright surreal, and DeVito's camera echoes this mood with its unorthodox angles and movement. DeVito himself narrates the action as Oliver Rose's lawyer, and Kathleen Turner and Michael Douglas prove once again their chemistry as a passionately antagonistic couple (ROMANCING THE STONE, JEWEL OF THE NILE).
Synopsis
A black comedy about a wealthy couple embroiled in a bitter divorce. Oliver Rose is a successful lawyer; his wife Barbara has been a committed homemaker with a flair for interior decorating. Together they created a home that looks like something off the pages of "House Beautiful." But after their two kids grow up and leave home, Barbara decides that their perfect marriage isn't so perfect anymore and wants out. Unable to reach an agreement about who will keep the house and everything in it, the Roses become engaged in a vicious battle to the death over the possession of their material objects.
Industry Reviews
"...A deliriously mean-spirited free-for-all....[Turner and Douglas are at their] comic best when being as awful as both are required to be here..."
New York Times - p.C16 - Janet Maslin
"...Biting and vicious....It's also thoughtful, laceratingly funny and bravely true to its own black-and-blue comic vision..."
Los Angeles Times - Sheila Benson (12/08/1989)
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