Manhattan janitor Daryll Deever is fixated on hard-charging TV commentator, Tony Sokolow; he tapes her commentary daily to watch after work. When a wealthy Vietnamese man, with many shady ... See full summary »
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Manhattan janitor Daryll Deever is fixated on hard-charging TV commentator, Tony Sokolow; he tapes her commentary daily to watch after work. When a wealthy Vietnamese man, with many shady connections, is murdered in the office building where Daryll works, Tony shows up to cover the story and Daryll introduce himself. She thinks he may know something, so she pursues him; he pretends he might to keep her interested. This romantic cat and mouse game goes on under the watchful eyes of the killers, who think that Daryll and Tony do know something. The killers start their own game of cat and mouse. Written by
In order to research his character, William Hurt actually moonlighted as a janitor before production on the film began and it would prove vital throughout the film. See more »
There is a security camera very obviously placed in the outer office outside of where the murder takes place, yet during the investigation no mention is made of it. However, perhaps (circa 1981) it's a closed-circuit, live feed only (no recordings made), and no one viewing the live security screens noticed anything unusual. See more »
When he was a kid, Aldo must have wanted to be a suspect when he grew up.
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Not offbeat enough...promising cast and plot distressingly end up on the assembly line
William Hurt and Sigourney Weaver are lovely to look at in their early acting days, but this convoluted plot from sometimes-talented screenwriter Steve Tesich takes both stars down a dead-end road. News-reporter Weaver believes janitor Hurt may have seen something the night a businessman was killed in an office building, but he--harboring a crush on her--is just playing footsie, that is until the killers find out about him. Opening 20 minutes are fine, if not thrilling; the production is glossy and the leads are well-matched. However, the picture gets bogged down in contrivances and overwitten characters, such as Weaver's parents and Christopher Plummer as a sinister Israeli. Director Peter Yates' energy peters out fast; his finale, in particular, is dreadful. *1/2 from ****
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