Martin Blank is a professional assassin. He is sent on a mission to a small Detroit suburb, Grosse Pointe, and, by coincidence, his ten-year high school reunion party is taking place there at the same time.
A Kansas City waitress with dreams of becoming a nurse becomes delusional after seeing her no-good car salesman husband murdered. Becoming delusional from shock, she becomes convinced that she is the former fiancée of her soap opera idol. What she also believes is that the soap opera is real and goes to LA to find the hospital where he works as a cardiologist. Meanwhile, her husband's murderers are searching for the drugs stolen by her husband and, as luck would have it, they are stored in the trunk of the car she drove off in. Freeman, an aging hit man planning his retirement after this job, also becomes delusional about the woman he is tracking. Written by
John Sacksteder <email@example.com>
The scalping scene had to be trimmed in order to get an R rating. See more »
None of the computer monitors visible have power cables connected. See more »
You know these actors are mainly models, which are mainly faggots. And the rest are assholes... Know what bugs me the most about those soaps. It's people with no lives, watching other people's fake lives.
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People keep asking "is this a romantic comedy?", "a black comedy?", "a violent thriller?". If you're the kind of person who is not comfortable with a film unless you can safely store it into one of five or six comfy little categories, move on (or as Jack Black says, "go to the mall!"). To quote Roger Ebert, "audiences lobotomized by one-level stories may find this confusing". It's really a sweet little comedy that breaks a number of 'sweet little comedy' rules, by introducing real terror and a few (count 'em
3) scenes with a bit of gore. Like Jonathan Demme's minor masterpiece,
SOMETHING WILD, we are taken out of a safe little world (Kansas, literally) to another dimension. This dimension is part Oz and part grit. Oz is the fantasy life of the main characters (for Zellweger it's Kinnear, the fictional doctor on a soap opera, and for Freeman it's Zellweger, who he sees as a sort of modern Doris Day). Intertwined with the fantasy is the frighteningly realistic fact that Freeman and his son Wesley, are hit men. What hit men do ain't pretty. I'm personally relieved that this is not a cute comedy with 'widdle cuddwly' hit men who are really not so bad because after all, their violence is bloodless: we can overlook what they do. UH-UH! We are not left off the hook that easily! On the other hand, Morgan Freeman is an authentically charming guy, and in many ways, this film contains some of the most sparkling romance (real and/or imagined) that's been seen on the screen in a long time! This indeed is a film that breaks many conventions while celebrating others, but be forewarned, this is not a safe, cuddly film. You're not in Kansas anymore!
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