Donal Lardner Ward

Two Manhattan slackers want to make a movie about their lives. One drives a cab, the other tends bar; neither has a clue how to make a movie. Things look up when real-life actors Phoebe Cates and Martha Plimpton agree to star in the project.

A decade and a half after their seminal indie film launched meteoric filmmaking careers, Splick and Jason find themselves staring at their own individual, pre-midlife crises. Having not spoken to one another since a late-nineties falling out, they're each grappling with the challenges of stalled careers and relationships, as the hands of time creep ominously past forty-o'clock. Splick's most recent TV show, centered around his character's perverse relationship with dessert foods, is unceremoniously cancelled by the network, forcing a return to his childhood bedroom at his mother's apartment in New York. Frustrated by a barrage of comments about the "good," "funny," movies he used to make with his old partner, Jason, Splick determines to seek him out and attempt a reunion.

Un groupe des années 80, The Suburbans, se reforme à l'occasion du mariage de l'un des ex-membres. Par hasard, un jeune dénicheur de talents se trouve dans le public et décide d'aider les artistes, maintenant âgés de la quarantaine, à revenir sur le devant de la scène.

Chez les Tenenbaum, les enfants ont toujours été des génies. Tout jeunes, Chas était déjà un maître de la finance, Margot une dramaturge exceptionnelle et Richie un joueur de tennis hors pair. Mais un jour, Etheline, leur mère, demande le divorce. Elle ne supporte plus le caractère égoïste de Royal Tenenbaum, son mari. Cette crise familiale a une influence négative sur le développement personnel de leur progéniture. Vingt ans plus tard, Royal écume les palaces, Etheline s'adonne à l'archéologie, Chas tente d'élever ses deux fils après la mort de son épouse, Richie est un champion déchu et Margot s'est marié avec un psy. Le père Tenenbaum annonce bientôt à ses enfants qu'il ne lui reste plus longtemps à vivre. Il souhaite se réconcilier avec eux et les invite dans la maison familiale en prétextant une grave maladie.

Manhattan, il n’y a pas si longtemps, à Noël... Tom Townsend, un gauchiste des bas quartiers de New-York, s’introduit dans le cercle restreint de « la bande de Sally Fowler » (cinq filles et deux garçons) - des jeunes gens strictly Park Avenue, mais en manque cruel de chevaliers servants pour accompagner les débutantes aux bals du Plaza. Bourgeois et cultivés, ceux-ci se réunissent lors d’after-parties pour tromper l’ennui, parler politique ou de Jane Austen, deviser sur leurs histoires d’amour ou sur l’inévitable déclin de leur classe. Ou encore de l’avantage du col de chemise amovible. Bienvenue dans la « Urban Haute Bourgeoisie ».

A decade and a half after their seminal indie film launched meteoric filmmaking careers, Splick and Jason find themselves staring at their own individual, pre-midlife crises. Having not spoken to one another since a late-nineties falling out, they're each grappling with the challenges of stalled careers and relationships, as the hands of time creep ominously past forty-o'clock. Splick's most recent TV show, centered around his character's perverse relationship with dessert foods, is unceremoniously cancelled by the network, forcing a return to his childhood bedroom at his mother's apartment in New York. Frustrated by a barrage of comments about the "good," "funny," movies he used to make with his old partner, Jason, Splick determines to seek him out and attempt a reunion.

A decade and a half after their seminal indie film launched meteoric filmmaking careers, Splick and Jason find themselves staring at their own individual, pre-midlife crises. Having not spoken to one another since a late-nineties falling out, they're each grappling with the challenges of stalled careers and relationships, as the hands of time creep ominously past forty-o'clock. Splick's most recent TV show, centered around his character's perverse relationship with dessert foods, is unceremoniously cancelled by the network, forcing a return to his childhood bedroom at his mother's apartment in New York. Frustrated by a barrage of comments about the "good," "funny," movies he used to make with his old partner, Jason, Splick determines to seek him out and attempt a reunion.

A decade and a half after their seminal indie film launched meteoric filmmaking careers, Splick and Jason find themselves staring at their own individual, pre-midlife crises. Having not spoken to one another since a late-nineties falling out, they're each grappling with the challenges of stalled careers and relationships, as the hands of time creep ominously past forty-o'clock. Splick's most recent TV show, centered around his character's perverse relationship with dessert foods, is unceremoniously cancelled by the network, forcing a return to his childhood bedroom at his mother's apartment in New York. Frustrated by a barrage of comments about the "good," "funny," movies he used to make with his old partner, Jason, Splick determines to seek him out and attempt a reunion.

A decade and a half after their seminal indie film launched meteoric filmmaking careers, Splick and Jason find themselves staring at their own individual, pre-midlife crises. Having not spoken to one another since a late-nineties falling out, they're each grappling with the challenges of stalled careers and relationships, as the hands of time creep ominously past forty-o'clock. Splick's most recent TV show, centered around his character's perverse relationship with dessert foods, is unceremoniously cancelled by the network, forcing a return to his childhood bedroom at his mother's apartment in New York. Frustrated by a barrage of comments about the "good," "funny," movies he used to make with his old partner, Jason, Splick determines to seek him out and attempt a reunion.

A married woman has an affair with a suicidal lover while caring for her husband's sick relatives.

A married woman has an affair with a suicidal lover while caring for her husband's sick relatives.

Two Manhattan slackers want to make a movie about their lives. One drives a cab, the other tends bar; neither has a clue how to make a movie. Things look up when real-life actors Phoebe Cates and Martha Plimpton agree to star in the project.

Two Manhattan slackers want to make a movie about their lives. One drives a cab, the other tends bar; neither has a clue how to make a movie. Things look up when real-life actors Phoebe Cates and Martha Plimpton agree to star in the project.

Two Manhattan slackers want to make a movie about their lives. One drives a cab, the other tends bar; neither has a clue how to make a movie. Things look up when real-life actors Phoebe Cates and Martha Plimpton agree to star in the project.

L'histoire de trois jeunes chefs d'entreprises déterminés à accomplir leur rêve américain.