Charlie and his troublesome cousin Paulie decide to steal $150000 in order to back a "sure thing" race horse that Paulie has inside information on. The aftermath of the robbery gets them ...
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A simple self-destructive drifter and tough small-time boxer with a brain injury that could kill him meets and falls for a cute beach carnival owner, Ruby, but also befriends a sleazy friendly criminal, Wesley, who's planing a big score.
Johnny Handsome is a deformed gangster who plans a successful robbery with a friend of his, Mikey Chalmette, and another couple (Sunny Boid and Rafe Garrett). During the heist, Johnny and ... See full summary »
Charlie and his troublesome cousin Paulie decide to steal $150000 in order to back a "sure thing" race horse that Paulie has inside information on. The aftermath of the robbery gets them into serious trouble with the local Mafia boss and the corrupt New York City police department. Written by
Grant Hamilton <firstname.lastname@example.org>
Early in the picture's development process Ulu Grosbard was attached as the film's director. See more »
The sign concerning "Christmas Shopping" to the right of the front door in Barney's clock shop is missing the first letter "P" in some scenes, and it then reappears in other scenes. See more »
He's not gonna give you up, Charlie. You're family.
Family, that fuckin' kid? We're third cousins.
Third cousins. For Italians. That's like twin brothers with the Irish.
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I was impressed by the fierce commitment of some of this movie's fans to not only appreciate the fantastic acting in "Pope", but to memorize its dialogue as well. This is definitely not a "plot" movie, but a film dedicated to its characters. What more could I want? The safe heist is almost an afterthought when compared to the great performances we get from Rourke, Roberts, Burt Young, and Geraldine Page! Page's tubercular monologue is a complete highlight.
Vincent Patrick's novel is truly brought to life without neglecting any of his rich, N.Y.C. dialogue or the detailed idiosyncracies of small-time hoodlum behavior. Alright, maybe Darryl Hannah is gratuitous casting, but Roberts! Regarding the film's two leads, Roberts in this film is taking so many risks, pushing so many different buttons, you've got to admire the guy for going that far out. I can almost disregard the 2,000 straight to video erotic thrillers and action films the guy's been doing since 1987 just based on this performance. Plus, that perm he's got is poetry. Rourke becomes a little repetetive in his household destruction mannerisms, but still gives a thoughtful and taut performance as well. The two of them together, I think, have a chemistry that actually rivals that of DeNiro and Keitel in "Mean Streets".
My only complaint with this movie is who the f*** decided to let Dave Gruisin do the score? Wasn't "Tootsie" warning enough that this guy's music sounds about as appetizing as a platter of burnt corn? Would you honestly want the guy who composed "Tootsie's Theme" to score a gritty, street movie about criminals? I would have rather have heard John Tesh ballads during some of this movie than Gruisin's tinkly, feel-good, yuppie, pre-Kenny G. bum poop that tries to pass for jazz. Now Herbie Hancock, there's the man to do this movie justice. Nonetheless, other than this minor complaint, I couldn't recommend the movie more for its humor and attention to character. One of the best films of the 80s.
"What do you need a fancy suit for, Charlie, you ain't got no job to wear it to."
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