A conflict develops between a troubled Vietnam veteran and the sister he lives with when she becomes involved romantically with the army buddy who reminds him of the tragic battle they both... See full summary »
David Merrill (Robert De Niro), a fictitious 1950s Hollywood director, returns from filming abroad in France to find that his loyalty has been called into question by the House Committee on... See full summary »
Robert De Niro,
A comedy about a screenwriter (Wuhl) whose old movie script is read by a producer (Landau) and the search for financial backers begins. But it seems that each money source (Aiello, DeNiro, ... See full summary »
Bounty hunter Jack Walsh is sent to find and return bail jumper and former Mafia accountant, Jonathan "The Duke" Mardukas. The FBI have had no success in locating The Duke, so when Jack finds him in next to no time, they are a little embarrassed. In order to collect his $100,000 fee, Jack must take The Duke from New York to Los Angeles. However, the Mafia and the FBI have other ideas, as does Marvin, a rival bounty hunter. On their long cross-country trip to LA, the two get to know each other and they build up a strange friendship. Written by
Monday... Escape with their lives from New York... Tuesday... Impersonate F.B.I. agents in Chicago... Wednesday... Steal plane in New Mexico... Thursday... Almost kill each other by accident... Friday... Almost kill each other on purpose... See more »
While on the plane to Las Vegas, Mosley is told over the phone that Serrano is "heading north on Las Vegas Blvd, 2 minutes from the airport." The next scene shows Serrano's limo passing the old Stardust Hotel and Casino, to the right of the car. This means the limo was heading south on Las Vegas Blvd. Furthermore, if they were taking the route down the Strip, the Stardust was approximately 5 miles from McCarran Airport, meaning Serrano was further than 2 minutes away. See more »
[Jack trying to pick door lock. He drops one of his picks. When he bends over to pick it up, a gun shot is fired through the door, right where his head had been previously]
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To hell with the pretentiousness of a Shyamalan or the increasingly misplaced self-adulation of the Coens, 'Midnight Run' has no other purpose in life other than to use the movie as a medium of entertainment. . . and it does. Oh boy; it does.
Badly underrated on release and still unfairly under valued even now, 'Midnight Run' is actually class-act film making, the narrative impeccably engineered and the acting uniformly excellent throughout.
Faults? Definitely, not the least of 'em being the gratuitous use of profanity: the movie's tone is such that it just doesn't need the endless ear-grating use four letter words -- 'Midnight Run' isn't about reality or anything remotely approaching it, so the insistence on so much gutterspeak is a major error.
Set pieces though are gloriously handled, and the helicopter sequence is quite as good as anything in a Bond movie -- a genre that has managed quite well without spraying profanities everywhere because it knows, and we know, none of it's real.
9/10 then for 'Midnight Run', because as an exercise in how to develop a movie, to establish characters and plot trajectories, to bring 'em all together in a final wrap up and still leave space for a minor plot twist, it's of textbook quality.
* I happened to see this as a late-night TV re-run, the day after watching the Coen's 'The Man Who Wasn't There'. 'Midnight Run' is everything that the Coen's work is not: it isn't self reverential, it isn't seeking to be a cult, and above all, it knows how to tell a story with speed and with style. RECOMMENDED.
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