After a break-in at their house, a couple gets help from one of the cops that answered their call. He helps them install the security system, and begins dropping by on short notice and ... See full summary »
A soldier is dumped on a waste disposal planet and lives among a community of crash survivors on the planet and takes it upon himself to defend his new home when genetic engineered soldiers are ordered to eliminate the crash survivors.
Paul W.S. Anderson
Jason Scott Lee,
Jeff and Amy Taylor are moving to California and must drive across the country. When they find themselves stranded in the middle of a desert with hardly anyone or anything around, their trip comes to a sudden halt. Amy had taken a ride with a friendly trucker to a small diner to call for help, but after a long time, Jeff becomes worried. He finds that no one in the diner has seen or heard from his wife. When he finds the trucker who gave Amy the ride, the trucker swears he has never seen her. Now Jeff must attempt to find his wife, who has been kidnapped and is being held for ransom. But who can he trust? Written by
If Red's gang had been obliged to be awake and on the road for nearly 24 hours straight ("We need to get far away from this area and dispose of all our incriminating evidence! I don't care if that means that we DO have to drive all night to get back to my house!"), they would have looked exhausted and baggy-eyed; they could not have appeared fresh and vigorous the way they do while having an early breakfast at Red's house. See more »
You're a tough man to get a hold of, Jeffery.
What do you want?
It's not what I want, it's what you want, and how bad you want it. 'Cause it's gonna cost you. Can't show it to you right now, but it's about 5'5", 115 pounds, three or four of that just pure tit. Nice curly brown hair, upstairs and down. Interested?
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"It could happen to you", the tag-line reads: not quite, but it is a white-knuckled ride all the way
Jonathan Mostow, before he went on to helm the big-budget U-571 and the even bigger budgeted Terminator 3, brought out this taut little thriller and cemented a reputation he's yet to really live up to (though some would disagree about that). His film has that tag-line, but it's not entirely accurate, even though it has a very familiar and eerily recognizable threat at the core: the outsiders coming in to a territory that is very close knit and practically inbred, where one wrong step could cost you and/or your loved ones lives. In this case, Kurt Russell and Kathleen Quinlan are the married couple caught in the cross-hairs of kidnapping, blackmail, and ultimately vengeance. They're moving from Massachusets to San Diego, and driving on through the desert they get side-swiped by a car, then later on after a near-altercation at a pit-stop, they move on only for the couple's car to breakdown. Help comes in the form of a trucker, who offers help for to drive the wife to get a tow-truck. No need for the truck, anyway, because the car didn't have much wrong with it...but what about the wife, Amy?
From there on in, Mostow takes Breakdown into the realm of paranoid thriller, then into just full-on chase/action/revenge/chase again picture. One might wonder if there could be a more noirish quality to it if the wife actually left for a reason other than abduction, though the path that Mostow takes the story is fine as it is. He keeps things simple in the story sense, with elements of the Western thrown in, but also makes it very much character-based as well. Russell's performance as Jeff Taylor is kind of the opposite of his recent turn as Stuntman Mike in Grindhouse: starting off as the average-Joe who tries to be polite, albeit from a yuppie background, he gets put to the test by the enormity of the situation, and finally becomes a real take-no-prisoners hero. Towards the very end it almost reaches the point of being TOO much of hitting over the head with payback, and there are little things regarding the nature of Red Barr (JT Walsh, great villainous presence in a real sinister, calm way) and his ties to the town as to whether or not things are really as controlling as they might be (i.e. the bank scene, which is perfectly acted, though not entirely feasible in the paranoid sense).
But all this aside, what Breakdown remains ten years after is a competent, un-pretentious thrill-ride where the dialog is never too heavy, the action is packed with real stunts and few special effects, and some of the brighter moments for Russell in recent years (or rather, the last ten). It knows what it is, and has the professional temerity of a cult effort.
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