Martin Blank is a professional assassin. He is sent on a mission to a small Detroit suburb, Grosse Pointe, and, by coincidence, his ten-year high school reunion party is taking place there at the same time.
In Detroit, Clarence Worley goes to the movie theater alone on the day of his birthday to watch three kung-fu movies. The gorgeous Alabama Whitman accidentally drops her popcorns on Clarence and they watch the movie together. Then they eat pieces of pie and they have one night stand. On the dawn, Alabama confesses that she is a call-girl hired to spend the night with him, but she has fallen in love with him. In the morning they get married and Clarence goes to the club where she worked to bring her clothes. However her pimp Drexl Spivey and his partner beat up Clarence and he reacts killing them both. Clarence asks Alabama's suitcase with her clothes and the other girls mistakenly give another one with cocaine. When Clarence discovers the mistake, he decides to travel with Alabama to the house of his friend, the aspirant actor Dick Ritchie, to sell the drug and travel to Mexico. He visits his father Clifford Worley and gives his address to him. But the Sicilian Mafia is the owner of ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The genesis of True Romance began with a 50 page script by Roger Avary titles The Open Road. Avary described the plot as being about "an odd couple relationship between an uptight business man and an out-of-control hitch-hiker who travel into a Hellish mid-Western town together." When he had trouble finishing it, he asked his friend and fellow Video Archives clerk, Quentin Tarantino, to give it a shot. After several weeks, Quentin handed him over 500 hand-written pages of, what Roger Avary described as "the Bible of pop culture." Roger typed and edited the behemoth, working with Quentin on further story ideas. According to a Film Threat article from 1994, the final script was a combination of True Romance and Natural Born Killers (1994). Reportedly, it followed Quentin's original NBK script until after the prison riot. After escaping, Mickey and Mallory decide to find and kill the screenwriter who wrote the glitzy Hollywood movie about their exploits. The writer goes on the run, and True Romance was the movie he writes while trying to evade the two psychotic killers. It was told in trademark Tarantino chapter fashion, out of chronological order. When it became obvious that the miniseries-length script would never sell, they split the two stories into separate movies. See more »
When Nicky Dimes and Nicholson are in talking to their boss, Dimes says something like "So they brought the suspect to me and Nicholson and we go to work on him". Sizemore interjects "...Nicholson and I". Neither is correct, which would seem to be the ironic point. The correct form would be, "So they brought the suspect to Nicholson and me..." See more »
In Jailhouse Rock he was everything rockabilly's about. I mean, he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothing except rockin' and rollin', living fast, dying young and leaving a good-looking corpse.
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True Romance is a celebration of film. It wallows in every possible seedy contrivance of American crime/action cinema. It is absolutely shameless in its exploitation of excessive violence, over-acting, melodrama, lurid sex, and rampant drug use...I love it. Quentin Tarantino, as I'm sure everyone knows, wrote the story, but it is the in execution that this film pays off. The cast, oh the cast: The lynchpins are Christian Slater and Patricia Arquette. They both give solid performances, which prevents the film from flying off the tracks; they serve as the pilot light. The supporting roles are the gas. The Walken/Hopper show down has been oft sighted as the film's best aspect, and this is, arguably, true. Just watch this scene and then watch it again. Sparks actually shoot out of the screen and burn people about the head and shoulders. OK, you've got Val Kilmer as the ghost of Elvis, Brad Pitt as a disgruntled pot-smoking loser, Tom Sizemore & Chris Penn as cops, James Gandolfini (pre-Sopranos) as a reflective hitman, and you've even got Bronson Pinchot (from TV's PERFECT STRANGERS) for God's sake. Did I forget Gary Oldman? Do yourself a favor and rent every single Gary Oldman related project (they're not all good films, but...). Why is Gary Oldman not in every film ever made? Why? I ask you why? He has got to be the best actor working today, hands down. As Drexel Spivey, Oldman chews the scenery, digests it, and then expels it from every orifice. Keep in mind that he is an English actor with a normal speaking voice at home in the Royal Shakespeare Company. His performance here is second only to his turn in LEON in blatant over-the-top insanity. Tony Scott, who along with his brother Ridley, has been known to over-direct a film or two, here chooses wisely to basically set up the camera and run. The score by Hans Zimmer adds a bouncy xylophone driven theme to the film and finds the right balance. This a well made, balls-to-the-wall, popcorn throwing, cult classic. In a market dominated with stereotypical characters, this movie avoids that trap by letting the stereotypes flourish with all the grotesque absurdity it can muster. 9/10
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