|Index||6 reviews in total|
A real gem among lower budget films, this extremely well written and stylishly directed entry features excellent performances by many familiar faces who portray the good, evil, and mysterious characters who inhabit the story. Tim Daly shines as a corrupt cop with a twisted sense of humor, Virginia Madsen dominates her scenes as a crime kingpin, and Mia Sara amply displays some great moments... as well as her great body... as the sexy seductress. Along the way, you'll see Judd Nelson, Xander Berkeley ("Leaving Las Vegas"), Paul Le Mat ("American Graffiti"), Zach Galligan ("Gremlins"), and Thomas Wilson ("Back To The Future"). Top it all off with dynamic film score by Mark Snow ("The X-Files"), and you're in for some real entertainment.
A lot of familiar faces show up in this tightly written, well directed noir piece. The bad guys are real bad, with Virginia Madsen (sporting a punky looking black hair style) in a cool role as a mob boss. Mark Snow, from "X-Files", did the soundtrack. This one times in at a crisp 91 minutes.
This is a pretty good, moody film noir of the 1990s, with a hard edge
to it, mostly unlikable characters and some sordidness to it.
A part of the film is just a vehicle for Mia Sara to show off her breasts which she does in a few steamy scenes. Actually, I would have liked to see more screen time of Virgina Madsen, who looked very pretty in here.
Eric Rohner is the star of the film yet, oddly, gets no mention in the front or back of the VHS cover! I guess he didn't have a big enough "name" to publicize the film. Tim Daly is effective as the sadistic villain.
The story gets carried away a bit in the end but overall is entertaining all the way while featuring a good soundtrack of jazz, blues and rock.
Enjoyable who-done-it with a good, crime drama script that keeps you guessing how this one is going to turn out, and who the real bad guys are. It was obviously shot in L.A., and the director gives it a nice film noir look. The acting is pretty good. In most of these thrillers you can maybe two recognizable actors, but I counted at least ten familiar faces here. Virgina Madsen looks especially cool playing a slinky drug dealer with black hair. It has a good soundtrack with a kind of bluesy opening written and performed by Mark Snow from X-Files that I downloaded as a ring tone for my cell. I don't think it is out on DVD yet, which is too bad. It is much better than the junk sitting on the shelves at Blockbuster.
An incompetent trickle of noirish backwash, 'Caroline at Midnight'
fails at everything it tries to do. It wants desperately to be a homage
to classic film noir, what with its murder plot and its femme fatale
and its saxophone score, but it fails dismally because not one single
person involved in its making seems to give a crap one way or the
other. I'm not kidding: I've never seen a film made with such
mind-blowing apathy. Both the plot and the performances are so shallow
and devoid of life that I struggled to pay attention to anything that
was happening on the screen.
So, there's this reporter. He's called Jack. He's played, in the loosest sense of the word, by Clayton Rohner, an actor with so little charisma and screen presence he almost folds in on himself. Jack's investigating corruption in the police force and is looking particularly hard at Ray Dillon (Tim Daly), a nasty piece of work who blah blah blah blaaaaah. One night, Jack is given information by an anonymous source that leads him to believe that the death of his girlfriend years earlier wasn't an accident after all. So. As he pokes into the case Jack falls for Victoria (Mia Sara), Dillon's wife and a friend of his ex. Two coincidences in one, very efficient. But it may not be a coincidence after all, you see, because Victoria may be involved with the... with the... zzzzzzzz...
As you may have guessed by now, I had not the slightest interest in anything that was going on, and if the performances are anything to by, neither did the cast. Judd Nelson, Virginia Madsen and Zach Galligan are some of the time travellers from the 1980s appearing in this thing, and their performances are offensively lazy. Rohner oozes disinterest, Daly mistakenly believes his bad guy routine is the next Hannibal Lecter, and Sara acts as though this movie is getting in the way of something more important, like cleaning her oven. The general sense is that none of these people liked the script but needed a bit of walking around money.
Ah, the script. What a lifeless collection of sheets of paper that must have been, containing a story that fails to excite and surprise every step of the way. Jack and Victoria have not a single scene, not a single line, that provides a reason why they should fall in love, while characterisation is non-existent all round; not one character seems to care about any other and I can't think of a single word to describe any of them. The twists are predictable, characters have flashbacks to events they weren't there to witness (Jack imagines his girlfriend's car accident with stunning precision), and the TV show on which Jack periodically appears exists solely to fill in the plot, which might be helpful if the plot was in some way interesting or complicated.
Mark Snow's score occasionally strays into 'X Files' territory, which is quite literally the only time this sorry thriller wakes up from its somnambulant shuffle. Other than that it's all sluggish and unimaginative, with director Scott McGinnis seemingly convinced (incorrectly) that his cast looks cool with cigarettes hanging out of their mouths. This really is a poor excuse for a murder mystery: it's so bland, so apathetically made, so drearily scripted, so downright weirdly put together that it's like watching a film from another dimension.
There aren't more than two dozen good filmes noires that have ever been made in color. This is one of them. The bad guys are BAD. There are no good women. The cops are hard to tell from the crooks, if there's really any difference except the regular paycheck and pension. Everybody in this does a good job, and the leads (who aren't necessarily those you'd think could) handle the material well, even when all they do are reaction shots (viz: some of V. Madsen's scenes). There's one more thing: the sound track. A film noir needs the right one, and this film has it. The long,bluesy tune played in the office sex scene is a classic. It's the kind of film that, later in their careers, some of these folks in it are going to look back and say "Damn, that was GOOD!". But one question: how does IMDb give this film five stars when no rater gave it less than 7 and a few gave it ten?
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