Howard Deutch Movies

Dane Cook, Kate Hudson, and Alec Baldwin star in this romantic comedy about a man (Cook) who makes his living convincing women to run back into the arms of the men they have recently dumped by taking them on the worst possible dates imaginable. The nightmare lothario's lucrative scheme hits an unexpected hitch, however, when he is hired by his best friend (Jason Biggs) to take out the beauty he longs to win back. ~ Jason Buchanan, Rovi

Everybody Loves Raymond co-star Brad Garrett brings "The Great One" to life in this made-for-TV biography of video icon Jackie Gleason. The product of a fractious Brooklyn childhood, capped by the abrupt desertion of his ne'er-do-well father, Gleason launches his show business career with the motto "Never depend on anyone." Yet because of his multitude of insecurities, he demands total loyalty and 100-percent devotion from everyone around him. Trouble is, he has no loyalty or devotion to give in return: Dedicated to his career, his drinking, and his womanizing (not always in that order), Jackie neglects his wife Gen (Gretchen Egolf) and his children, tyrannizes his associates in general and his faithful agent George "Bullets" Durgom (Saul Rubinek) in particular, and shamelessly steals other people's ideas and comedy material, claiming it exclusively as his own. For all his bluster and bullying, Gleason remains likable and arguably even lovable -- just like his most famous TV character, Brooklyn bus driver Ralph Kramden (indeed, the script suggests that Gleason was Kramden and Kramden was Gleason -- and that Jackie was envious of Ralph's ability to "make things up" to his long-suffering wife Alice at the end of each Honeymooners sketch). The film is at its best in its re-creations of Gleason's stage and TV triumphs, though one could nitpick about the hazy and often downright inaccurate chronology of events. As the title character, Brad Garrett offers an uncannily on-target portrayal, despite the fact that the 6'8" actor was nearly a foot taller than the real Gleason (this discrepancy was amply compensated for by the clever camera angles of cinematographer Neil Roach, not to mention the elevator shoes worn by practically every other member of the cast). Of the supporting players, Gretchen Egolf and Terry Farrell are superb as Jackie's first and second wives respectively, while Michael Chieffo's portrayal of Art Carney is eerily perfect. Co-written by Michael Preminger and Rick Podell, the same team responsible for Jackie Gleason's final theatrical feature Nothing in Common, Gleason made its CBS network debut on October 13, 2002. ~ Hal Erickson, Rovi

Howard Deutch directed this sequel to the The Odd Couple (1968), originally adapted from the 1965 Broadway comedy by Neil Simon. Thirty years later, Felix Ungar (Jack Lemmon) and retired sportswriter Oscar Madison (Walter Matthau) meet at LAX and drive a rental car across the desert to attend the wedding of Oscar's son Brucey (Jonathan Silverman) to Felix's daughter Hannah (Lisa Waltz), but a breakdown leaves them stranded at some distance from the main highways where they are sprayed by a cropduster and hang out with two flirtatious women (Christine Baranski, Jean Smart) in a small-town bar before getting a lift from slow-driving elderly Beaumont (Barnard Hughes), and eventually arriving at the wedding. Composer Alan Silvestri brings in Neal Hefti's original theme from the 1968 film, music also featured in ABC's 1970-75 TV series with Tony Randall and Jack Klugman. Another Odd Couple sequel is the TV movie The Odd Couple: Together Again (CBS, 1993, repeated July 1997), starring Randall and Klugman; it also involved the wedding of Felix's daughter. ~ Bhob Stewart, Rovi

A criminal trying to reform is forced to endure the most humiliating punishment of all -- hanging out with his son -- in this family comedy. Ray Gleason (Ted Danson) is a thief whose ambitions far outstrip both his skill and his intelligence; Ray is just bright enough to have realized this, and he's decided to go straight and open a bake shop (he learned how to decorate cakes during his last stay in prison). However, Ray needs to raise some working capital, so in association with his buddies Bobby (Saul Rubinek) and Carl (Gailard Sartain) he is planning his last heist, in which they hope to walk away with a highly valuable collection of rare coins. Ray also happens to have an 11-year-old son, Timmy (Macaulay Culkin), whose mother died several years ago; Timmy has been living with his aunt, but when she gets married and goes away on her honeymoon, Timmy ends up staying with Ray. Timmy is a lot smarter than his dad and quickly figures out what Ray and his cronies have been up to; he's long felt a great deal of resentment toward his father for not being around when he needed him, so Timmy steals the loot from the robbery and uses it to blackmail Ray into spending some quality time with him. Timmy also thinks that it's high time Ray settled down, so when he notices that Theresa (Glenne Headly), an undercover cop, has been following Ray's trail, Timmy tries to play matchmaker and bring them together. Getting Even with Dad would prove to be the next-to-last screen appearance for former pre-teen superstar Macaulay Culkin; he was 14 when this film was released, and within five years he was a married man attending the Rhode Island School of Design. ~ Mark Deming, Rovi

In the John Hughes-scripted The Great Outdoors, John Candy stars as Chet Ripley, an oafish paterfamilias who takes his family on a vacation at a lakeside resort. Their enjoyment is seriously compromised when brother-in-law Roman Craig (Dan Aykroyd) shows up with his wife and kiddies. The rest of the film is an ongoing war between Ripley's carefree aggregation and Craig's obnoxiously prissy brood, and making things worse, a driving rainstorm forces both families to remain under one roof well-past their threshold of patience. Annette Bening makes her film debut as Aykroyd's ill-tempered wife. ~ Hal Erickson, Rovi

In a gender-reversed version of his previous hit Pretty in Pink, John Hughes retreads all-too- familiar ground in Some Kind of Wonderful, the story of a sensitive, young would-be artist, Keith (Eric Stoltz), who vies for the affection of his high school's popularity queen, Amanda (Lea Thompson), seemingly out of some deep-rooted insecurity regarding his social ineptitude. He enlists the help of his butch best friend and fellow misfit, Watts (Mary Stuart Masterson), unaware that she secretly pines for him. While she goads him to give up his pointless pursuit of Amanda, he encounters one other small obstacle -- Amanda's rich bully of a boyfriend, Hardy (Craig Sheffer), who threatens Keith with a face rearrangement. Undeterred, Keith decides he will, by any means necessary, escort his dream girl to the prom -- but not before he buys her expensive jewelry with the money from his college fund in order to impress her. (Hughes expects the audience to side with Keith when his father protests.) Some Kind of Wonderful is pure fantasy, but the plot is too tired and flawed for it to be completely satisfactory escapism. Still, the performances are all-around good and the ending is slightly more likeable than its predecessor's. Hughes decided to use the original Pretty in Pink ending, which had been dropped from the original after poor audience response at the advance screenings. ~ Jeremy Beday, Rovi