When Nicole met David; handsome, charming, affectionate, he was everything. It seemed perfect, but soon she sees that David has a darker side. And his adoration turns to obsession, their dream into a nightmare, and her love into fear.
Vietnam War vet Stephen Simmons must deal with a war of a different sort between his son and their friends, and a rival group of children. He also must deal with his own personal and ... See full summary »
Following his mother's death, Mark is sent to Maine to visit his aunt and uncle while his father goes on a business trip to Tokyo. Mark meets his cousin, Henry, and the two quickly form a friendship. However, Henry begins to show signs of violent behavior that worry Mark. Written by
Michael Klesic was originally cast in the role of Henry Evans in 1988. The film was soon later put on hold due to lack of funding. A couple years later Jesse Bradford was cast as Henry Evans because the original child actors had grown too old for their parts. The project was once again put on hold and the same problem happened. Then, was once again re-cast and finally shot and released in 1993. See more »
When Henry and Mark are climbing the tree at the start of the film, a crew member can be seen, dressed all in black, helping Mark on to the platform. See more »
[Mark plays soccer with his teammates as they cheer Mark's name]
Get the ball!
Pass it to me!
Shoot it! Hit it in! Hit it in!
[Mark scores the goal]
Good goal! Good game.
See more »
In many ways this is just a standard thriller. How I loathe the word "thriller". It suggests roller-coasters; and the genre it denotes, at its best, deals in quiet tension. Where was I? Yes: standard thriller. A is really an evil person, intent on performing great harm in the future; B knows this but can't convince anyone else. I heard that sigh. But make A and B children, on the verge of adolescence, and not only is this tired formula invigorated, but it makes a great deal more sense. (Especially if B is in the slightly awkward position of a cousin on an extended visit.) The creaky old scenes where B goes to the police and either he is strangely incoherent or the police are strangely obtuse, are gone. There is now a perfectly good reason why B can't go to the police, or indeed anyone. Nor is there anything strange about the obtuseness of A's parents. The rotten adult seems so commonplace that we scarcely bat an eyelid; the rotten child, who is in fact far more commonplace, we like to pretend doesn't exist.
So I'm glad Hollywood took this step. I also, for the most part, like the way the step has been taken. B has no accomplices - he must battle A alone
and his plight is keenly felt. There's an air of plausibility about it
all. Elijah Wood is an unusually good boy, Macaulay Culkin is an unusually bad boy; both look perfectly real. (Wood, who has the harder task, does especially well.)
The climax - or what is meant to be the climax - is HIGHLY contrived. It will probably come as a shock that the writers chose something at once so obvious and so ludicrous. The mood of the audience I saw this with - it may just have been my mood - was one of grudging acceptance, granted only because we had been treated so well in the events leading up to it.
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