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Some thirty years after Arlis witnesses his father murdering a family, he runs into Kay, who happens to be the family's baby who was spared. Kay and Arlis suspect nothing about each other, but when his father returns, old wounds are reopened. Written by
Shot at the Sunset Motel in Monahans, Texas, owned and operated by Doris Barker. Daughter Jeanie Barker Scott's stepdaughter got a walk-on role when a young actress called in sick. Shooting the week there were James Caan, Dennis Quaid, Meg Ryan and Gwyneth Paltrow. See more »
When Arliss looks at the photo of Kay's family, the photo shown in the first shot is not the same photo as that shown a few seconds later in the close-up. In the close-up, the trees are gone from the background, the baby's hand is outstretched and you can clearly see the mother's face. See more »
I figure the bed's one of those vibratin' numbers, so that explains all the quarters. Nobody could possibly fancy pretzel twists that much so I reckon you won some kinda weird contest. As for the condoms, well, either you got a yen for cheerleadin' squads or we had the night of all nights, whatever, there's an explanation. As for the blue chicken, I need a little help with that one.
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Perhaps some people only want to see Meg Ryan in romantic comedies, or perhaps IMDb voters give this a low average rating because 'nothing happens', but look beneath the surface and you will find a dark and haunting drama of the first order, with the best work from all involved for many years before or since.
Steve Kloves, completely 'miscast' as the adaptive screenwriter for the Harry Potter films (he writes in American, for heaven's sake) here produces a great original work as a writer/director, utilizing some amazing visuals from Phillipe Rousselot (d.o.p.) and music from Thomas Newman (a score suitably subtle, haunting and moving). Caan, Ryan and a pre-fame Gwyneth Paltrow are all on top form but the real star here is Dennis Quaid, whose face, a canvas of tortured memories and struggling decency, says more than Kloves could ever hope to write. As director he chooses wisely; he gives Quaid a single line, then keeps the camera rolling.
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