It's a hard crime story about a Philadelphia shop owner who has enough of the criminals' violences and ravages. He organizes a patrol of civil people. It all starts to go wrong because his ... See full summary »
A baby alligator is flushed down a Chicago toilet and survives by eating discarded lab rats, injected with growth hormones. The small animal grows gigantic, escapes the city sewers, and goes on a rampage.
Michael V. Gazzo
John Sayles' original script had a more diverse array of hit songs from the late 20s and early 30s, but this idea had to be nixed because the budget was too low to pay for the clearance rights to all these songs. See more »
Polly cuts a car off leaving the Kid at the gas station and that car turns sideways. Later, when the kid is running to towards this car and while under fire from the cops, he takes cover at the base of the gas pumps. A stray shot ignites the pumps and the explosion camera angle faces the front of the gas station and the car is gone. See more »
In the heart of little old New York, You'll find a thoroughfare. It's the part of little old New York That runs into Times Square. A crazy quilt that "Wall Street Jack" built, If you've got a little time to spare, I want to take you there. Come and meet those dancing feet, On the avenue I'm taking you to, Forty-Second Street.
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Clearly a product of the Corman School, Sayles's first major screenplay shows that he already knew how to tell a great story from an interesting angle, something he has never forgotten how to do.
Director Teague keeps the pace rattling along, and hammers the message home fast (he was an occasional assistant to Sam Fuller, of course).
The plot's quite straightforward, and all the better so - this packs something of the punch of the 30's classic gangster films, but with distinctly 70's sensibilities to violence.
Where the film becomes more interesting than your average low-budget 'gangster-exploiter', however, is in the telling of the story through her eyes, rather than his (a distinctly 70's approach). Yet it's wonderfully ambiguous, on reflection, as to whether the film champions her willingness to break away and start acting for herself (she's a great strong character), or whether she just goes from one woman in peril situation to the other (which is the plot, basically).
I've probably over-analyzed it already, but if you've got a spare hour and a half on your hands, give it a chance. A classic of its kind.
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