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 »
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>
A compulsive gambler returns to the town he fled years before on account of bad debts. He quickly hooks back up with an old flame who is now married to a local hood. Before long he finds himself involved in organising a big money heist.
I get the impression from other reviews that this Texas neo-noir from director Steven Soderbergh doesn't have too good of a reputation. This is something that surprises me somewhat and is a sentiment I cannot get behind. For me, this was a well-directed and well-acted crime film with an interesting structure and a bit of style to burn. Its story is told in three different time-lines that dovetail for the final section. The flash-backs and flash-forwards are effective in creating a tension that ensures we want to find out how everything fits together. Not only this it always looks interesting too, with unusual framing and stylized lighting often used. This emphasis on the visual works well for the neo-noir sub-genre and here is no different. Peter Gallagher is very good in the lead role, in a character that isn't terribly sympathetic, while Alison Elliott was equally good as the woman he reacquaints himself with. Pleasingly, the film ends with a finale that neatly wraps things up in a satisfying and unexpected way.
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