In Las Vegas for a quicky divorce, a just-paroled ex-cop and his wife wander into the Top of the World Casino, run by the shady Charles Atlas. They win big, right as the casino is being ... See full summary »
In Las Vegas for a quicky divorce, a just-paroled ex-cop and his wife wander into the Top of the World Casino, run by the shady Charles Atlas. They win big, right as the casino is being robbed. The police believe their big win was a staged diversion, and the two of them become suspects. Over the course of the evening and next morning, the two attempt to escape to surrounded casino, and to prove their innocence, as well as to save their marriage. Written by
Jason A. Cormier <email@example.com>
[In the casino near the slot machine]
What are you starin' at?
Honey, where I'd just been you get a lot of trouble for staring. What's your name?
Ginger, do me a favour, will you? I'm not allowed to gamble. So all you have to do is just walk up, put the two Twenties in the machine and pull that lever. Whatever we win we'll make fifty fifty. What do you say?
Come on. You're my lucky star!
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Good-looking production values here; obviously this thing had a middling decent budget, well used by an efficient, professional director (Sidney J. Furie). Unfortunately, nothing - and I mean NOTHING
here seemed completely new or original. EVERYTHING is a recycled
cliché of the crime / revenge drama genre. Disgraced ex-cop (Weller) looking for answers among the crooks who framed him arrives in Las Vegas. He is also trying to reconnect with his estranged ex-wife (Carrere). Did I mention the crime boss who has a grudge against him (Hopper)? The problem isn't any one of these elements, it's all of them. There is just nothing new here. Peter Weller can carry a picture, and Tia Carrere makes a gorgeous object of desire and longing, plus Dennis Hopper makes a good villain, but we have seen them all do that before. The script gives them no new business, and over-familiar character types to work with. Every plot twist has been used before, every segment has a familiar feel to it. Las Vegas looks great and is well used visually as a setting, but I already mentioned that this is a professional, slick looking production. I found myself almost shouting at the screen to give me something I hadn't seen before. Didn't happen. Tia Carrere's cheekbones were the only things that kept me watching all the way to the end.
Not bad at all, but unless you are completely new to the crime drama genre, you will be hard pressed to find anything much entertaining here.
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