An artist (Foster) witnesses a Mafia hit and calls the police. At the police station she realizes that the Mafia has a man in the force, so she runs. Trailed by the police, who need her testimony, and a hitman (Hopper) hired by the Mafia, she goes to Mexico, where eventually she meets the hitman, who has become infatuated after studying her art and life to prepare for the hit. Written by
Ed Sutton <email@example.com>
Vestron Pictures were unhappy with director Dennis Hopper's original 180 minutes cut of the film and re-edited it without his knowledge. Hopper was so enraged he sued the company, but they had already gone bankrupt. He nevertheless insisted on the anonymous Alan Smithee credit. See more »
The shadow of a cameraman is briefly visible during the opening credits when Anne pulls to the side of the road. See more »
There's something going on here that I really don't understand, but I like it.
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If that's what you want, you want this movie-- she bares it not once but twice. Or if Bob Dylan wielding a chainsaw is your bag... The script is clichéd and inept, the directing choppy, the excellent cast largely wasted. At least they look like they had fun making it. If it was better written/directed, the basic premise of the abductee falling for the abductor might be more believable. Jodie spends most of her time looking worried, until she suddenly mutates into passionate lover/co-conspirator. Joe Pesci managed to have his name completely scrubbed from the film and the packaging, although his part is not minor. Blink and you'll miss Catherine Keener, apparently in her first credited role. Somebody should put the soundtrack's sax player out of our misery.
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