The movie opens in a Los Angeles convenience store one late Monday night, where a smalltime drug dealer named Nick (Aaron Eckhart) is trying to decide what coffee brand to buy. His ex-lover... See full summary »
Grey Malcolm is a talented young assassin who's ready to get his life back. But before he can leave, he has one final assignment: kill a bank robber who has the city's underground up in ... See full summary »
Frank T. Wells has just been released from prison after serving a term for manslaughter. Frank's a reasonably honest man and a good rodeo rider. When he meets up with Scarlett, a bank ... See full summary »
You might think Kate has it all. She's young, well educated, and from a rich family...but all is not as it seems. This isn't a fairy tale story, and Kate's life is spiraling. But help comes... See full summary »
The movie opens in a Los Angeles convenience store one late Monday night, where a smalltime drug dealer named Nick (Aaron Eckhart) is trying to decide what coffee brand to buy. His ex-lover Dallas (Paulina Porizkova) and fellow hitman Billy Hill (James LeGros) are getting impatient and tell him to hurry up. Conflicts between Nick and the cashier (Luck Hari) ensue, resulting in Dallas shooting the cashier dead. Though the three attempt to cover up the crime, they are forced to also shoot a police officer (Bari K. Willerford) when he discovers blood on the ground. Written by
The details of Dallas' version of Nick and Casey's last job differ from that of Casey's version. According to Dallas' story, told to her by Nick, Ball-Peen's apartment was very colorful, luxurious and lavish. And the woman who comes out of the bedroom was, at least, pretty. In the version Casey tells, the apartment was drab, run-down and dirty. The woman from the bedroom looks like a drug addict wearing a bath robe and disheveled hair. See more »
51:30 into the movie, the amount of cocaine on Nick's nose changes during the end of the big drug deal scene. See more »
Since we're all good friends here I have a question for you.
I heard about this big bad motherfucker, has got this habit to hit niggers with a hammer. I've heard a reason why he uses it. I got sympathy for that. But... uh... there's one thing I just can' get out of my head.
Well, I've heard about almost all niggers got these really big dicks, you know, salami size cocks. Now I had many different blowjobs by any number of different bitches so I know how much room my white boy's ...
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Want a film that's hip, loaded with attitude, funny and shocking at once, packed to the rafters with wild lowlifes? Skip Woods has delivered one, but about five years too late. We've seen everything in THURSDAY before, so you'd best enjoy this film without the baggage of seeing PULP FICTION - and that's a tall ask.
Compared to FICTION or RESERVOIR DOGS , THURSDAY is as flawed as you'd expect. Spontaneous raps about Star Trek, the sadistically amusing torture of a helpless, bound man, and drug-dealer flashbacks all ring a bell. It's derivative, but it's still fun.
Against the leagues of Tarantino ripoff's on the market, you could do much worse than THURSDAY. The day-in-a-life saga, and flexible pace are sometimes a blast. The violence makes you squirm and laugh, so at least it hits the mark, even when it aims low. And the havoc sown on the picturesque picket fence suburb is cruelly effective.
Going out of his way to shock, Woods' film goes wrong because for all his youthful arrogance, THURSDAY isn't half as original as he no doubt thinks. And be warned, the ending is a travesty. It's abysmal and uninspired enough to make you reassess the merits of the picture before the credits have even begun.
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