A young newlywed couple find themselves trapped in a network of underground caves. With her husband injured, the new bride is forced to find her way back to the surface in order to save his... See full summary »
Brian T. Jaynes
Larry Jack Dotson
The legendary YES line-up of Jon Anderson, Chris Squire, Trevor Rabin, Alan White, and Tony Kaye performs in this landmark concert that's become a home video favorite! Directed by ... See full summary »
A year after their pious dad's death, just graduated bright, erudite but distracted Matt Anderson, an angelic dreamer who talks with dad's ghost and phones with his confident God, moves in ... See full summary »
Michael Chambers returns home to celebrate his mother's marriage. Michael had been ousted from his home town due to his gambling indiscretions and had left his wife to deal with the mess he created. He now must reassimilate back into the town, renew his relationships with his family and friends (and enemies) and, most of all, seek out his ex-wife to woo her again. In the process, he obtains a job working with his mother's new husband as an armored car driver. He almost seems the perfect prodigal son as he finds his niche back in the community and his way back into his ex's heart. His troubles surmount when he and his wife are caught in the act by her hoodlum boyfriend/fiancé. To get out of this predicament, Michael must concoct a plan to heist of a payroll being carried by his armored car company. Written by
Joel Schesser <firstname.lastname@example.org>
Not allowed to co-sign the screenplay with his name for legal reasons, Steven Soderberg used the name "Sam Lowry", the anarchist character played by Jonathan Pryce in Terry Gilliam's Brazil (1985). See more »
I read somewhere where this film was supposed to be a remake of the 1949 film noir, "Criss Cross." I found the latter to be disappointing but it was still better than this film.
This movie is a "neo-noir" since it's modern-day and it's in color, two things that purists would make it be disqualified for film noir status.
The biggest negative to it, however, wasn't the cinematography (that was fine) but the muddled storyline. Hey, some of '40s Dashiell Hammett stories were similar but I didn't care for some of those either. The filmmakers here did not help the situation by placing flashbacks into the story what seemed like every three minutes. No wonder it was the keep up with this story. It was ridiculous! What happens is that by the 45-minute mark, their is so much confusion nobody cares anymore. I know I didn't.
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