Jonathan Demme directs this joyous relentlessly kitschy celebration of 50's America: opportunity, rock'n'roll, and the road. He follows three generations of women and the men they pick up, ... See full summary »
A baby alligator is flushed down a Chicago toilet and survives by eating discarded laboratory rats injected with growth hormones. The small reptile grows gigantic, escapes the city sewers, and goes on a rampage.
Michael V. Gazzo
Thieves fall out when over a half million dollars goes missing after the daring and carefully planned robbery of the Los Angeles Coliseum during a football game, each one accusing the other of having the money.
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 »
When Lewis Teague directed Robert Forster in a short second unit scene for the movie Avalanche (1978), two of them decided that if Teague got to direct a full movie, he would offer Forster a role. However, when the time came, Forster's agent thought the role of Turk was too small for him, and persuaded him to refuse billing. See more »
In the parlor at Anna Sage's bordello, when Polly meets Turk for the first time, one of the topless prostitutes obviously has breast implants and that surgery was not available during this time period. 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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