5.1/10
383
19 user 8 critic

Reckless (1995)

On Christmas Eve, a regretful husband admits to his high-spirited wife that he has hired a contract killer to take her out. She immediately flees. A nice couple offers her shelter, but everyone have dark secrets in this wacky movie.

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Cast

Cast overview, first billed only:
...
Rachel
...
Tom
Juana Barrios ...
Female Reporter Re: Fire
Mike Heibeck ...
Fireman
Vee Brown ...
Anchor Person Re: Jogger
Jack Gilpin ...
Weatherman
...
...
Pooty
William Duell ...
Roy
...
Trish
Anthony Pagano ...
Small Boy In Therapy
...
Therapist
...
Host Tim Timko
Joanne Krispin ...
Beautiful Twin
Lisa Krispin ...
Beautiful Twin
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Storyline

On Christmas Eve, a regretful husband admits to his high-spirited wife that he has hired a contract killer to take her out. She immediately flees. A nice couple offers her shelter, but everyone have dark secrets in this wacky movie.

Plot Summary | Add Synopsis

Taglines:

The most twisted Christmas ever.

Genres:

Comedy | Drama | Fantasy

Motion Picture Rating (MPAA)

Rated PG-13 for complex psychological themes and some disturbing images | See all certifications »
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Details

Country:

Language:

Release Date:

17 November 1995 (USA)  »

Also Known As:

Aconteceu no Natal  »

Filming Locations:


Box Office

Gross:

$103,351 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Reckless was first staged by The Production Company in 1983 under the direction of Norman René, who also directed the movie. It underwent some revisions and had other productions, with the first performance of the 1985 published version occurring on 14 September 1988 at New York's Circle Repertory Company, again directed by Norman René. More recently it had a Broadway revival. Previews began on 23 September 2004; the opening on 14 October 2004 and closing on 19 December 2004 after 77 total performances. Mary-Louise Parker who played Pooty in the movie, took the lead role as Rachel and Debra Monk repeated her movie role in the Broadway run. See more »

Quotes

Rachel: You think I'm someone from a mental institution, don't you?
Lloyd: Are you?
See more »

Crazy Credits

Tess, Ralph & Juniper ... production dogs See more »

Connections

Spoofs Let's Make a Deal (1963) See more »

Soundtracks

Joy to the World
(1719)
Music by George Frideric Handel (uncredited) (unconfirmed)
Lyrics by Isaac Watts (uncredited)
Arranged by Lowell Mason (uncredited)
Performed by Pat Boone
Courtesy of MCA Records
See more »

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User Reviews

 
Witty, Moving, Satisfying
10 September 2005 | by (Northern California) – See all my reviews

I happened to tape this film from TV, and it has become one of my favorites. Whatever failings it may have, and I think it has fewer failings than some might think, it is in its way a tour de force of originality. The combination of gritty downfall with under-the-Christmas-tree fantasy works very well -- and that in itself is an achievement.

Its charms, by and large, are the small things, the incidental scenes that are accomplished in a unique manner, such as a conversation in American sign language between two women who are wearing large, yellow rubber gloves (in the scene they are cleaning a carpet). While I concede that the title seems fairly arbitrary, it certainly does the film no harm, no more than "Magnolia" did any harm to that film, even though "Magnolia" is surely just as arbitrary a title for "Magnolia" as "Reckless" is for "Reckless." In my view, a film that is unique (as well as uniquely quirky), visually witty, and that can arouse and explore entirely new and unexpected emotional territory in the viewer is a film of value. Mia Farrow's and Scott Glenn's performances are excellent.

I would encourage anyone who wants to see something that is entirely different from anything else and that will make an indelible impression, would do well to see this film. And don't worry, the script is just fine; although it is a morality tale, it is not a morality tale with a smug or pat conclusion, as it ends, as it begins, with a weirdly satisfying sort of open-ended grace.


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