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A rambuctious ride thru American culture. The nouveau-riche meet The Prince of Darkness in this outlandish fable for the politically incorrect.A family's holiday weekend is turned ... See full summary »
Sarah Scott Davis
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A Cherry Pontiac Lemans Convertible...Two Days...Two-Hundred & Fifty Grand. When your lemon lot hits the skids you glom the gig no matter what the smell. For Bob and Sid, two slicked-back burnouts, bum luck runs in spades. With a goose-egg for cash flow and a fore-closure falling fast, they take the gig. The Upside: Fat Cash...The Flipside...Every Thug, Crook, Punk and Mercenary on the planet looking to get rich. Written by
The full cast is listed in order of appearance. See more »
Mr Reich claims to have doused Vernon with propane and roasted him in a motel room but when propane is decompressed and introduced into any atmosphere warmer than -43°C (-45.4°F) it instantly evaporates See more »
Everything that can be bad about a movie is here. First off, if you're directing a very low budget movie, don't cast yourself in the lead. As clearly evident here, the lead flubs lines and ad-libs a lot to the already awful dialog, but since he's also the director/editor/craft service and everything, he can do what he wants.
This is another one of those "I think I'm just like Tarantino but I'm not actually even in the ballpark" movies. There are long scenes of bad dialog where a point is made, then repeated over and over and over and over for ten minutes. Some of it is so contrived and poorly written, it'll literally make you cringe (the Johnny Cash thing was amazingly bad). It's one of the problems with amateurs making movies these days: everything thinks by making pop culture references, you're the next Tarantino and it doesn't work that way. Editing in dialog was a huge necessity here but I'm guessing the writer/director/editor/grip didn't think so. I'm betting this script was done in one draft, that's it, let's shoot.
And editing and directing of the actual movie was pretty bad. Apparently the director has never heard of the words "establishing shot." 95% of the movie is done in extreme close up, much of the time the actor's faces aren't even fully in screen. There are lots of quick, useless cuts (a lot in black in white which does nothing other than remind you you're watching a poorly made movie).
I realize this is a low budget film, so when we see the crime scene and it's two "FBI" guys, a guy digging in the garbage who is apparently unfamiliar with the term "contanimating evidence" and an ambulance (which serves no purpose at all, the director must have known someone who works at an ambulance service), it's clearly evident there was no budget. If you can't make a realistic looking crime scene (at least have SOME POLICE and police tape is cheap), then don't have it at all. I had fast forwarded through a lot of the movie because it was pretty hard to watch. By the time I got to this scene, it was all I could stand.
Another amazingly annoying thing is the title cards that introduce EVERY SCENE. Because we're all too stupid to just get the scene without being introduced to it, we have to these annoying title cards that tell us what we're about to watch. Three or four times during a movie; that's okay. But every two minutes?
I do not refer to this as a "film" since it was shot on video and run through the "film look" software (like Magic Bullet) which only makes your video look like grainy video (although some of the cinematography on the outside stuff is done really well - I'll give them that).
What's move baffling to me is this guy actually got real directing work after (Narc and Smokin' Aces). What has the world come to? There's no doubt this guy has a huge ego (I don't know why). In his bio, he's actually got a bit about, and I quote: "...where his journey to greatness began." Someone shoot me.
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