Los Angeles advertisement director Max visits his friend, artist Charlie, who was diagnosed with A.I.D.S. in New York City. There he meets Karen, they are attracted to each other and after ...
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Non-linear film tells the sexual story of a film director from his life at age 5, 12 and 16, a man embarking on his first film in 1950s Tunisia, and finally to his current life. Along the ... See full summary »
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Robert Downey Jr.,
Natasha Gregson Wagner
The successful writer and professor of architecture Nick Kaminsky returns from New York to Elderstown to visit his biological mother Lillian Anderson Munnsen that is terminal. Nick does not... See full summary »
A crooked American businessman tries to push the shady influential owner of a nightclub in Newcastle, England to sell him the club. The club's new employee and the American's ex lover fall in love and inadvertently stir the pot.
Los Angeles advertisement director Max visits his friend, artist Charlie, who was diagnosed with A.I.D.S. in New York City. There he meets Karen, they are attracted to each other and after they meet later that day at the concert, they have a passionate night. Then he returns home to Los Angeles to his family, and wife Mimi. A year later, Max returns to New York City again to visit Charlie, who is now dying, and there he meets Karen again, who is married to Charlie's brother Vernon.
According to the book "Robert Downey, Jr. - The fall and rise of the comeback kid", Mike Figgis and Robert Downey, Jr. met at Kate Mantilini's, a restaurant on Wilshire Boulevard in Beverly Hills, to discuss this movie. Downey arrived two hours late, barefoot, high, and carrying a purse with a gun sticking out of it. Figgis was shocked at first, but started a conversation anyway. Downey, who had lost a lot of weight because of his addiction, still expected to be offered the lead role of Max. Figgis offered him the part of Charlie, a man dying of A.I.D.S. instead. This in turn, gave Downey a shock, but after taking a good look in the mirror (and doing a line of coke) he decided to accept the part. See more »
In the bedroom mirror after the house party. See more »
LEAVING LAS VEGAS affected me like almost no other movie has, so I was bound to find this film somewhat of a let-down, but even I was surprised by how much. In his other films, Figgis has demonstrated he's a master with mood and atmosphere, and he's good here as well. The scene where Max and Karen first meet is nicely played, without too much foreshadowing thrown in. But this is a conventional plot, and try as he might, Figgis isn't able to make it interesting enough. And as much as I hate Joe Eszterhas (whose screenplay this is re-written from), I can't imagine his ending was any worse (or maybe this was his ending).
I'm not a big fan of Kinski to begin with, but to be fair, she has almost nothing to work with, and she does try. And I like Ming-Na Wen, but she's also stuck, she with a too-unsympathetic character. The men come off better; Snipes and MacLachlan are good, but really, the main reason this is worth watching is Robert Downey Jr., who avoids cliche even when his character is dying. Otherwise, you're left wondering, what the hell was the purpose here?
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