Glorified and glamourized fact-based tale of Ma Barker and her boys who robbed banks and generally terrorized the Midwest in the 1930's and was eventually gunned down by g-man, Melvin ...
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Glorified and glamourized fact-based tale of Ma Barker and her boys who robbed banks and generally terrorized the Midwest in the 1930's and was eventually gunned down by g-man, Melvin Purvis. Written by
John Sacksteder <firstname.lastname@example.org>
On two different occasions, the film utilizes stock footage of exteriors for establishing shots. The first: When Arthur Dunlop (Eric Roberts) is drinking in the bar and spills info on the kidnapping, the exterior shows it to be the "Pitty Pat Club" which was featured in the movie "Harlem Nights". Second: When Melvin Purvis finds Arthur "Dock" Barker (James Marsden) and arrests him, the exterior shot shows a street corner building beneath some elevated tracks with a curved corner. This exterior is from "The Untouchables" (1987). It was in the scene where the little girl goes into the saloon before it blows up. See more »
The final shootout between Ma Barker and Melvin Purvis is captioned to have occurred in Lake "Wier" when in fact the location is near Lake Weir. See more »
By the time this movie came out in 1996, director Mark Lester had been making tight, sharp little B action pictures for more than 20 years. He was responsible for the great "Truck Stop Women" from the '70s and several other little gems; unfortunately, he's also responsible for this dud. It's a shame to see the talented--and still smoking hot--Theresa Russell wasted yet again, but she's still the best actor in this picture. Eric Roberts shows up for a while, does his Eric Roberts thing, then goes away, a not altogether unwelcome occurrence in a picture with Eric Roberts in it. Frank Stallone actually isn't bad, which should give you an idea of how truly pathetic this picture is. As has been mentioned by other reviewers, the action scenes--which is the reason a picture like this gets made in the first place--are almost completely illogical and unrealistic, in addition to being somewhat inept. Other than some "vintage" clothes and a few old cars, there's no feel whatever for the 1930s, the era in which this film is set. A by-the-numbers script with irritating lapses in logic and little historical accuracy--this isn't a documentary, of course, but the filmmakers could have at least TRIED for a little authenticity--and performances that range from grade B to grade school relegate this cheap little quickie to the 4:00 a.m. Sunday slot on HBO, which is just where I saw it.
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