While Bruno is an international money mover and influence peddler and Virginia is his very beautiful wife, his sexual appetite requires the services of banker and part-time hooker Alex. It's love at first sight. But, who are the lovers?
Chas, a violent and psychotic East London gangster needs a place to lie low after a hit that should never have been carried out. He finds the perfect cover in the form of guest house run by... See full summary »
Santos attempts to lead a people's revolt in Colombia to overthrow the oppressive El Presidente. When his revolt fails and he is killed, his sister Christina goes to New York to find McBain... See full summary »
Maria Conchita Alonso,
Michael Joseph DeSare
A comedy about a screenwriter (Wuhl) whose old movie script is read by a producer (Landau) and the search for financial backers begins. But it seems that each money source (Aiello, DeNiro, ... See full summary »
A bank accountant, who moonlights as a high-priced call girl, becomes embroiled in the lives of a money launderer, his seductive wife, and his bodyguard who blackmails her to help the FBI entrap him with his latest money laundering scheme. Written by
Donald Cammell was introduced to Nu Image by producer Elie Cohn, with whom he had worked on the unmade Marlon Brando film "Jericho". Nu Image was also familiar with Cammell's work and appeared to like the "Wild Side" script. However, the relationship between Nu Image and Cammell quickly turned sour. First, the company tried to prevent the casting of the then completely unknown Anne Heche as Joan Chen's lover. Then they questioned Cammell's working methods, sparking a battle of wills between him and Cohn. When Cammell delivered his rough cut, the producers were horrified. They fired off a memo ordering the film's editor Frank Mazzola to remove all flashbacks, flash forwards and jump cuts. Unsatisfied, the producers sacked him and re-cut the movie themselves. See more »
[after Tony tries to rape Alex]
You get up. Drop your pants.
Sit! Did I say you could leave? Sit.
Oh, fuck it. Let her go. Come on. Let her go. She can check on Virginia. Look, what's the point, OK?
The point is, she stays. She leaves, I blow your genitalia *off*. That's the point, OK? It's the lady's choice.
See more »
Never have a Director's cut and a released studio version been sodifferent . . .
I watched the Director's Cut of this movie premiered August '99, together with clips of the trash that the studio released. The studio movie is trash
completely and utterly and doesn't even aspire to be anything better.
The editing is flat and the performances look like rehearsals. The Director's Cut (pieced together by the Editor after the Director's suicide) is an outstanding piece of cinema. Not a frame wasted. The opening sequence shocks you into an awareness that this movie will be very different to anything you've seen before. Chris Walken gives one of the best performances of his career. This is exciting, original cinema that riveted my attention in every moment of its two hour authorised version. The script sparkles with wit and dry, unpretentious humour and you never quite know what is going to happen next. A sexy, stylish thriller that makes you laugh and also appreciate the beauty inside every villain. The tenacity and integrity of the Editor and Scriptwriter that saw it through to completion is a monument to the industry.
26 of 29 people found this review helpful.
Was this review helpful to you?