Angelo "Snaps" Provolone made his dying father a promise on his deathbed: he would leave the world of crime and become an honest businessman. Despite having no experience in making money in... See full summary »
Lincoln Hawk (Stallone) is a struggling trucker who arm wrestles on the side to make extra cash while trying to rebuild his life. After the death of his wife, he tries to make amends with ... See full summary »
Stallone plays a cop who comes undone after witnessing a brutal scene on the job. He checks into a rehab clinic that specializes in treating law enforcement officials. Soon, he finds that his fellow patients are being murdered one by one.
Charles S. Dutton,
Years ago, Jack Carter left his Seattle home to become a Las Vegas mob casino financial enforcer. He returns for the funeral of his brother Richard 'Richie' after a car crash during a storm... See full summary »
Rachael Leigh Cook,
A woman (Madeleine Stowe) who has just discovered she is the daughter of a murdered Mafia chieftain (Anthony Quinn) seeks revenge, with the aide of her Father's faithful bodyguard (Sylvester Stallone).
A tough detective's mother comes to visit him, and promptly starts trying to fix up his life, much to his embarrassment. For his birthday she buys him a machine gun out of the back of a van, and begins to further interfere with his job and love life, eventually helping him with a case he's on. Written by
Ed Sutton <firstname.lastname@example.org>
A disappointing effort by Hollywood's most successful spec screenwriter
"Stop! Or My Mom Will Shoot" was written by the late Blake Snyder (et. al), author of the popular "Save the Cat!" screen writing books, and seems to demonstrate the adage that those who can do, while those who can't teach.
I was interested to see how the much touted Blake Snyder Beat Sheet (or BS-squared) was applied in one of his own screenplays, but was left more confused than enlightened. The opening image doesn't mirror the final image. The dark night of the soul was not particularly bleak or believable. I'm not sure of exactly what constitutes the A and B stories, but assume the mother helping son become a better policeman to win the girl was the B story and chasing down the arms dealers was the A story, but I don't see their synthesis. I expected a somewhat formulaic story with distinct beats and clearly defined acts, but found the beats blurred. The protagonists should be propelled into the second act, e.g., not his mother.
One problem seems to be that the characters were stripped of distinct ethnic backgrounds and made generic. I would venture to guess that the role of Sgt. Joe Bomowski was originally envisioned as Jewish character with a Jewish mother. In my experience, having grown up with an Italian mother in a school district that was half Jewish, half gentile with very few blacks, Asians or Hispanics, Jewish mothers are very much like Italian mothers, but they are not identical or interchangeable. For both, culture and religious beliefs are important. Eating a good breakfast is important, but not a breakfast of generic foods. The late Estelle Getty did a good job with the role as written, but she didn't sprinkle her dialogue with Yiddish or Italian homilies, adages, or phrases. She wants her son to marry a nice girl, but not specifically a nice Jewish girl in a Synagogue or a nice Italian girl in a Catholic cathedral. Stripping away the ethnicity makes the characters much more shallow and less believable.
The movie is a bit of a train wreck, but it has a few good moments. Mommy telling her son he needs to change, then showing him in nappies was amusing. Bomowski saying the office staff could figure something out because they were detectives was a good line. The airport chase scene was well done.
But most of the movie is fairly tepid, lame, unoriginal and not believable, even within the relaxed standards of a comedy. The age-appropriate romance was particularly tepid. The villains weren't evil. The plot made little sense. The notion that an insurance company couldn't determine if steel devices were damaged in a fire that left the structure standing and would pay a claim on illegal inventory items stretched credulity past its limits. Police procedures were non-existent. Most of the jokes were forced and not particularly funny. Stallone is a talented actor and demonstrated his comedic skills in the under-rated "Oscar." Getty was also talented and gave the role her best. But they didn't look or act as if they were from the same family, despite insisting as much repeatedly in the dialogue.
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