A bright assistant D.A. investigates a gruesome hatchet murder and hides a clue he found at the crime scene. Under professional threats and an attempt on his life, he goes on heartbroken because evidence point to the woman he still loves.

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Cast

Cast overview, first billed only:
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...
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Matt Gavin
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Karen Heller
Ken King ...
Petey Vasko
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Bill Barrett
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Pat Callendar
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Patrice Jacinto
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D.A. Arnold Clifford
...
Mr. Green
Jay Jacobus ...
Justin Henderson
Victoria Smith ...
Sandy
...
Executive
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Storyline

Someone does a nasty hatchet job on a San Fransisco big noise and the Assistant D.A. takes charge of the investigation. Through a web of blackmail and prostitution involving the Governor, an old lover of the lawman emerges as a prime suspect and he has to deal with his personal feelings as well as the case. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

Some fantasies go too far. See more »

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for grisly afterviews of murder victims, violence, language and strong scenes of aberrant sexuality | See all certifications »

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 »
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Details

Official Sites:

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Release Date:

13 October 1995 (USA)  »

Also Known As:

┼Żad  »

Box Office

Budget:

$50,000,000 (estimated)

Gross:

$9,795,017 (USA)
 »

Company Credits

Production Co:

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Technical Specs

Runtime:

| (director's cut)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

James Horner had a couple of other scores for other movies the same year as this like braveheart, Apollo 13, jumanji, casper and balto. His score in this film is mixed with the song mystic's dream by Lorenna mckennitt and it sounds similar to his other scores in red heat, thunderheart, etc. Horner was chosen in part by the studio who loved the score of braveheart that he did for them and for Mel Gibson himself and also William Friedkin wanted to have a chance to work with Horner since he admired his work in other films. See more »

Goofs

When David is chasing the black car you can clearly see his airbag coming out with the second jump. In the next scene the airbag is gone. See more »

Quotes

Bob Hargrove: I think she did it.
David Corelli: Why?
Bob Hargrove: She's got no alibi and we've got her prints on the hatchet.
David Corelli: And she lied to us.
Petey Vesko: Typical shrink behaviour. They like to pull your strings.
Bob Hargrove: [to Corelli] She was pulling your strings pretty good.
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Soundtracks

Pau Rolou
Written & Performed by Egberto Gismonti
Courtesy of ECM Records
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Frequently Asked Questions

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User Reviews

Sprung Rites
6 February 2009 | by (Virginia Beach) – See all my reviews

I think this may have been successful in its day, simply because of the sex. There is the appearance of some sex acts on the screen presented in a couple voyeuristic contexts, but I think the target was a much deeper appeal: a whole world driven by insatiable, conventionally deviant female sex drive. The writer had previously cashed in with this idea and Hollywood chose to try again but with a real director.

This formula isn't just about sex, its about turning the noir mechanics on its head. Noir depends on an outside fate that arbitrarily throws strangers together in situations that are designed for and controlled by the values of watching, outside the world of the action.

Here, everyone knows each other beforehand. There are essentially no strangers. The driving force is supernatural as in noir, but it is rooted in and owned by the people we see. Its simple sexual desire, lust.

The story is ordinary, the sex unconvincingly simulated. Even the automotive stunts are limp. There's some craft in how it is put together visually though, enough to keep me engaged.

But there is one remarkable feature. The score is hypnotizing. It is bicameral, both halves based on prototypical themes. The male theme: lustful, uncontrollable and apt to be violent is from (almost directly) Stravinski's Rite of Spring. Its wildly erotic, threatening, dangerous. The female side (until the end that is) is a Celtic anthem, soft, passive, receptive, drifting.

I do not ever recall something so directly cast, so borrowed and yet so effective. I saw this close to a film (Duel at Diablo) where the score was literally canned bits from old movies and the dialog all dubbed). This part is fun, and much more tantalizingly erotic than what you will see.

Ted's Evaluation -- 2 of 3: Has some interesting elements.


9 of 12 people found this review helpful.  Was this review helpful to you?

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