In Texas, Floyd is the owner of a decadent bar nearby the coast. He misses his wife Dorothy, who disappeared one year ago, and does not pay attention to the business, giving credit to ... See full summary »
Busy and often absent father must take care of his two boys after his wife dies. They all live in Tunisia because of their father's job. The older boy is handling the difficult changes much better than the younger one.
A middle-aged steelworker is content with his job and his family, but feels that something is missing in his life. On his 50th birthday, he stops in at a local bar for a drink to celebrate.... See full summary »
An unconventional cop who doesn't take any bull, is paired up with an amazing detective to capture some powerful criminals but the cop soon realizes that his by the book partner has split personality disorder.
Jessie is an aging career criminal who has been in more jails, fights, schemes, and lineups than just about anyone else. His son Vito, while currently on the straight and narrow, has had a ... See full summary »
Gene Hackman plays the part of Dan McGuinn, a prizefighter as his father was and as his sons are, in this ragged tale of a scrappy Irish family in New York City, pointedly devoid of female members. All of the McGuinns, including sons Ray (Jeff Fahey), a professional, and Eddie (Craig Sheffer), a Golden Gloves champion and future Olympic aspirant, have been living together although Ray has moved elsewhere as the action begins, and as he attempts to climb into the upper ranks of the middleweight division. To do this, he has signed a contract to be managed by a rival of his father in order to better advance his chances, which creates an emotional fence between father and son. Partially filmed in the Hell's Kitchen district of New York, the work deals largely with Ray's unintentional involvement with a mob-connected boxing figure and the impact this has upon the four McGuinns. Publicity for the film avers that the ring backgrounds of director David Drury (an amateur in the U.K.) and of stunt boss Paul Stader lend authenticity to the fight scenes; however, this is far from the case. In fact, there is an enormous problem with the boxing footage being widely separate from reality, the final bout being grotesquely silly. Additionally, the direction fails to generate a sense of tension and largely bypasses that which would make a viewer buy into the scenario: exploration of the conflict between the N.Y.P.D. officer father and his wayward older son. Technical aspects of the editing are handled with competence but widespread cutting haunts the piece, increasing incredulity, particularly when joined by a poorly composed and cliche-flooded script. Fahey gives a strong performance, and his scenes with only Sheffer are probably the film's best (as released); Hackman gives his all, as is his custom, and James Tolkan is quite effective as a well-outfitted principal villain, but Jennifer Beals is lacklustre at best and her part easily could have been eliminated. Camerawork by Tim Suhrstedt and Michael Hanan's production design are top-flight but can do little to improve a motion picture honeycombed with nullity
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