A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
A thriller about an IRA gunman who draws an American family into the crossfire of terrorism. Frankie McGuire is one of the IRA's deadliest assassins. But when he is sent to the U.S. to buy weapons, Frankie is housed with the family of Tom O'Meara, a New York cop who knows nothing about Frankie's real identity. Their surprising friendship, and Tom's growing suspicions, force Frankie to choose between the promise of peace or a lifetime of murder. Written by
Robert Lynch <email@example.com>
The original script for the film was much darker than the version used for the final film. Amongst other elements: Pitt's Frankie the Angel character alternated between slaughtering all of the inhabitants of a crack house and crooning Irish music at a local pub; Ford's Tom O'Meara was a "hair bag cop" who got that unflattering nickname because he's been a uniformed officer for so long; and an entire scene consisted of O'Meara and his partner throwing vile insults at each other. This draft was the one that Brad Pitt read before deciding to sign onto the project. See more »
When Tom enters the morgue, Eddies eyes twitch, though he supposed to be dead. See more »
You're a stupid man, Mr. Burke. You only see me standing between you and your money. You're forgetting about the thousand men standing behind me. That's a mistake.
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What is it with American-Irish? Some of their richest and most respectable members have poured millions of Dollars into the IRA, harboured some of their members, idealised the notion of a "fight for freedom". Believe me, as a Scot, with William Wallace et al I've always had a certain affinity for heroes. But the IRA are no heroes. They've become Northern Ireland's drug-dealers, extortioners, gangsters. The people of Ireland as whole have had enough of them and their way of terrorising innocent people. May it be the IRA or the UDP, the notion of a Catholic V Protestant jihad has long ago turned into a simple cycle of self-perpetuating violence. These men and women are no longer anything resembling the oh-so glorious Michael Collins, they are terrorists who don't know when to quit and never knew anything but how to fight. These men aren't the Brad Pitts of the world, nor is the British Army an oppressor anymore (considering that over 90% of the locals support the Army, simply because it provides protection). Yet in 1997 we still got the great toss of this movie, showing us how brave Irishmen fight against an onslaught of British stormtroopers and evil S(I)S men. Somehow it seems that America is hell-bent on keeping up the idea of the stiff upper-lip English villain. May it be The Devil's Own, Braveheart, U-571 or most recently The Patriot, Hollywood seems bent on demonising the US' closest ally, both politically and culturally. I may not be a great fan of the English, but even I know what harm stereotypes can do. Perhaps the writer should have gone out to the streets of Belfast and asked ordinary people what they think of the IRA. Perhaps the writer should have also approached a soldier and asked him what it's like to occupy Northern Ireland. Somehow, I have severe doubts that a movie about the post-WW2 SS-"Werwölfe" guerillas would be quite so romanticised.
And this movie has a Riverdance sequence. Oh please....
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