A street prostitute takes in an abused young woman on the run from her misogynist boyfriend, leading to both facing off against the prostitute's dreaded pimp and a relentless police detective out to arrest all of them.
A hapless and desperate music producer hires a talented housewife to lip sync the songs of an attractive but talentless starlet to further his and her music career, and tries to keep up the charade when their album becomes a success.
Enthusiastic American journalist goes to Brazil as the Carnival starts to investigate mass executions of street kids. She meets a savage crime boss called Boca who seemingly wants to help the children and falls under his brutal charm.
Rae Dawn Chong,
As a part of a special government reform program, inmate J.T. Blake has to take care of Johnny Reynolds who has cerebral palsy. In the meantime, another inmate wants to take care of J.T. Blake forever.
Allan A. Goldstein
R. Nelson Brown,
A young woman named Jennefer regularly beaten and tortured by her boyfriend, gives birth and immediately gives the child up for adoption. This sets her on an escape from the lover on the streets of Toronto. Here she meets a hardened hooker named Ola who takes her in so she won't be arrested for vagrancy. Jennefer then decides to take up hooking to make money and has to learn to fend for herself and to protect herself from a demanding pimp named Hassan. When Hassan kills one of the street girls, it pits him against the others and against a detective out to bust him. Meanwhile, Jennefer's boyfriend, J-Rod, arrives in the city and relentlessly seeks her out to take her back... or kill her. Written by
John Sacksteder <firstname.lastname@example.org>
Good on Atmosphere, Terrible on Character Development
There's some nice cinematography and atmosphere. The film makes you feel the cold of the Toronto streets where the prostitutes ply their trade. It has a nice streets of the city, Scorsese "Taxi Driver" atmosphere.
Unfortunately the characters, despite some nice acting by the cast, are pretty one dimensional. They are constantly doing things that are required by the script, but make no sense. For example, why does the lead character Jennifer stand freezing on a street after arriving in Toronto instead of getting help? Why does she go with a pimp (Lou Diamond Philips) who she has seen abusing women, including her best friend, Ola. Why does her best friend, Ola, befriend the prostitutes on the street, but not report the pimp to the police when he kills a prostitute? Why does the pimp kill the prostitute? Why does the cop threaten to kill the pimp whom he knows is a murderer, but does not arrest him? Why does a ticket seller for Greyhound tell a psychotic looking boyfriend which bus she has taken, when he can just say, "I don't remember." The answer is that they are following a script that makes them all look stupid at every turn.
The movie's solution to the prostitution problems it raises is simple. Prostitutes and abused girlfriends should get guns and kill their tormentors. Police should just turn a blind eye when this happens.
Three stars for the cinematography and acting. Zero for everything else.
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