A drug dealer with upscale clientele is having moral problems going about his daily deliveries. A reformed addict, he has never gotten over the wife that left him, and the couple that use ... See full summary »
Wade Whitehouse is a sheriff of a small New Hampshire town who achieved nothing in life in the opinion of his ex-wife Lillian and daughter Jill and is a heavy drinker. His girlfriend Margie accepts him the way he is. On the first day of the hunting season, Wade's friend Jack takes a wealthy businessman to hunt - and only Jack returns alive. Wade decides to play detective and starts investigating the case despite the fact Jack insists it was an accidental self-inflicted shot. Written by
'Willem Dafoe is given fourth billing, yet his first on-screen appearance isn't until fifty-five minutes into the film. See more »
Filmed in Quebec, in January and February 1997, the movie, which happens in a New Hampshire town, opens on Halloween day, late October. There is never that much snow on the ground, if at all, late October, in New Hampshire (or Quebec for that matter). See more »
Who else benefits if Twombley is suddenly dead?
[after a pause]
I don't know. You tell me.
Okay. It's likely there are people in the union who don't want Twombley to testify. That probably includes his son-in-law, who's vice president, and will probably be the next president.
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Bleak, shocking, and brutal portrayals of men behaving badly.
A portrait of a violent destructive father, almost giant-like, whose behavior is threatening and whose words crash against and down upon his sons, dashing them to smithereens, mentally and physically. The father has successfully destroyed his sons, in a long process which began when they were young boys, who stood and watched their father in a hot temper strike blows upon their mother. The sons are unable to touch him, to feel any emotions towards him, but fear and loathing. The father instills fear in the viewer of the film. He is scary. There is nothing to redeem this father. The son who escapes tells this story as the narrator. The scalding and searing hatred and loathing that each holds to some degree for the other is viewed against stark black and white photographs of a New England winter. Seething unrelieving pain is the film's central character. The father and son anesthetize pain in alcoholism, which the narrator-son manages to just escape. Torture, brutal and mental, is shared in this sad family and memories of it loom large and don't go away. The mother's world is silent, and viewing this film, the viewer is just rendered silent: there are no words to describe the lives of the father and his two sons. Wasted, brutalized, and lost are not enough. How many families are there living as the Whitehouses do in our world? Calculating this pain and sadness is the film's bottom line. Metaphors for these realities bounce about and jar the viewer: the son's rotten tooth, the pleasure the father expresses in giving pain to his two sons, the vocabulary of brutality that destroys the human spirit.
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