When the first manned mission to Mars meets with a catastrophic and mysterious disaster after reporting a unidentified structure, a rescue mission is launched to investigate the tragedy and bring back any survivors.
Ricky Santoro is a flamboyant and corrupt Atlantic City cop with a dream: become so well connected that he can become mayor. In lieu of that, he'll settle for keeping his comfortable lifestyle. On the night of the heavyweight boxing championship, Rick becomes mixed up in the assassination of the Secretary of Defense, an assassination involving his best friend. Becoming the investigating officer in the case, Rick soon uncovers a conspiracy to kill the Secretary and a mysterious woman in white. The conspiracy was shocking, but not half as shocking as the identity of its mastermind. Written by
The Mystery Guest
The ring shown at the end of the credits puzzles many audiences. It belonged to a woman that Dunne killed and put into a cement mixer, so claims that it introduces some continuity error related to Santoro are wrong. See more »
You know they say, back two, three hundred years ago, pirates put phony lighthouses right out by those big rocks, right out there. Ships would set a course by the lights, crash on the rocks; then everybody'd go out and rob 'em blind. Only one thing's changed since then: lights are brighter.
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The end credits scroll over a construction site scene (presumably the new casino), closing in tighter and tighter until the final shot is of a bright red jewel embedded in a concrete pillar that the workmen are installing. Most of the time the jewel is hidden under the hand of one of the workers. The ring was worn by the red-haired woman/Navy agent who was part of Commander Kevin Dunn's scheme. See more »
One of the best movies of De Palma, a formal masterpiece.
A completely new movie, where form and vision become the substance of a story of dissolution of a consciousness and of a world. Double characters and multiple points of perception, an opening scene technically stunning and artistically perfect, centered on an indirect perceiver (Cage) while everything happens on the background. Multiple endings (in every sense) and an extremely rigorous style up to the last image. Split screen sequences as a poetic synthesis of truth, and a completely new relationship between subjective and objective reality. Abstract cinema at its best, and a real post-modern nightmare.
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