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Two to Tango (1988)

4.9
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Ratings: 4.9/10 from 31 users  
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Jim Conrad, a reluctant hitman, is ordered to Buenos Aires to complete one last contract. The task becomes complicated when the intended victim proves to be a well-protected man accompanied... See full summary »

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Cast

Cast overview, first billed only:
...
James Conrad
Adrianne Sachs ...
Cecilia Lorca
Duilio Marzio ...
Paulino Velasco
...
Dean Boyle
Alberto Segado ...
Lorenzo 'Lucky' Lara
Francisco Cocuzza ...
Carlos Pino
Golde Flami ...
Hilda Levin
Nathán Pinzón ...
Morelos
Juan José Ghisalberti ...
Joseph Levin
Ricardo Hamlin ...
Bates
Jose Luis Cabrera ...
Tango Dancer
Pablo Novak ...
Sergio
Adriana Salonia ...
Adela
Ana Maria Vita ...
Boarder 1 at Levin's Hotel
Alejandra De Luiggi ...
Boarder 2 at Levin's Hotel
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Storyline

Jim Conrad, a reluctant hitman, is ordered to Buenos Aires to complete one last contract. The task becomes complicated when the intended victim proves to be a well-protected man accompanied by a beautiful mistress who has caught Conrad's eye. Written by Concorde - New Horizons (with permission).

Plot Summary | Add Synopsis

Genres:

Thriller

Certificate:

R | See all certifications »
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Details

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Language:

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Release Date:

1 February 1989 (USA)  »

Also Known As:

Argentina: Epikindynos paradeisos  »

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Technical Specs

Runtime:

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Did You Know?

Connections

Remake of Últimos días de la víctima (1982) See more »

Soundtracks

Margarita de Agosto
Music by Raúl Garello
Played by Raúl Garello and his orchestra
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User Reviews

 
This Attempt At A Remake Is A Less Than Impressive, Thinly Plotted, Hodgepodge.
18 April 2011 | by (Mountain Mesa, California) – See all my reviews

Here we have a revamp of a 1982 Argentinian film, ULTIMOS DIAS DE LA VICTIMA, a work produced by Héctor Olivera, and ably directed by Adolfo Aristarain, a craftsman superior to Olivera, who directs this piece, each version being scripted in part by José Pablo Feinmann, after his novel.  This effort quickly overstays its welcome, albeit it benefits from some creative camera compositions by cinematographer Leonardo Rodríguez Solís.  James Conrad (Don Stroud) is a professional assassin who does not wish  to continue in his vocational calling because each time he kills he "dies a little".  Nonetheless, there remains one final victim to be demolished, in Buenos Aires, where his long-time employer, a mysterious "Company", has assigned him to accomplish an apparently routine extermination.  It immediately becomes something other than a mechanical event after Conrad falls in love with his anticipated victim's mistress, Cecilia Lorca (Adrienne Sachs), a woman whose moral principles are the equivalent of those of Conrad's at crucial points. The latter's planned retreat from what has been a successful, although somewhat tarnished career will be to Nepal, an eccentric selection for a retired liquidator.  When Conrad asks Cecilia to accompany him there she, who had been seeking her main chance with "rich and powerful" men prior to linking up with her murderous lover, not surprisingly finds a jaunt into the Himalayas to be fraught with concerns that she prefers to forego.  Her reticence clearly indicates to cold-blooded Conrad that he will probably be rehearsing mantras unaccompanied, but in any event he must complete his last homicidal task before making any serious programme to redeem his soul.  Unfortunately, he cannot rely upon good will from friend or foe.  Flaws in continuity and logic are rife, with the film's early signs of style being smothered by a script that is largely the labour of Feinmann, who bases the piece, as for the mentioned 1982 production, upon his first published novel, a significantly unexceptional narrative that has a more prominent political bent than is to be found here.  Happily, the movie is broadly cut, which does, however, account for its surfeit of senseless scenes.  Sachs is cast as a dancer in a night club owned by a former colleague of Conrad, and she is quite as undistinguished in that capacity as she is as an actress. Stroud is effective but cannot separate his role from a muddled screenplay that places most of its intended impact upon a surprise ending that does not.


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