Spike Lee's take on the "Son of Sam" murders in New York City during the summer of 1977 centering on the residents of an Italian-American South Bronx neighborhood who live in fear and distrust of one another.
Sarah Taylor, a police psychologist, meets a mysterious and seductive young man, Tony Ramirez, and falls in love with him. As a cause of this relationship she changes her personality when ... See full summary »
Rebecca De Mornay,
Julian makes a lucrative living as an escort to older women in the Los Angeles area. He begins a relationship with Michelle, a local politician's wife, without expecting any pay. One of his... See full summary »
A woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband's death, and finds herself not only under arrest for murder but falling in love with an officer.
Michael "Jay" Cochran has just left the Navy after 12 years. He's not quite sure what he's going to do, except that he knows he wants a holiday. He decides to visit Tiburon Mendez, a ... See full summary »
When the drifter Harry Madox reaches a small town in Texas, he gets a job as used car salesman with the dealer George Harshaw and settles down in a hotel room. During a fire, Harry observes... See full summary »
Based on the Starkweather-Fugate killing spree of the 1958, in which a fifteen-year-old girl and her twenty-five-year-old boyfriend slaughtered her entire family and several others in the Dakota badlands.
Two stories, 14 years apart, converge in a suburb of New York. Manuel Esquema, an international financier, whose face is badly scarred, is flying from Miami to help a New York politician negotiate a plea bargain with the Justice Department. Years before, this financier was a fresh-faced cabaña boy at a Miami Beach resort who fell in love with a young woman on holiday with her husband. The husband is now the pol, and he thinks he dispatched the cabaña boy long ago. What are Esquema's plans: revenge, mercy, or a complicated plan to seek again the woman's love? Written by
The movie opens in 1987, then goes to "14 Years Earlier", making it 1973. In the first disco scene, Ella Brice is seen dancing to "Rock The Boat" by The Hues Corporation. That song was not released until February of 1974. See more »
Schrader's most demented ever (and yeah, I remember Rolling Thunder)
We all know that Paul Schrader is a sober son of the Dutch
Reformation Church. Still, I'd love to have a taste of the
crack he was smoking when he wrote this flaming lulu, a
painfully sincere and heartfelt tribute to undying love that
suggests Stanley Kubrick singing "Love Theme from Mahogany" a cappella.
Apparently an attempt to capture the spirit of Scott Spencer's novel "Endless Love" (so famously lost by Franco Zeffirelli), FOREVER MINE posits Joseph Fiennes
(he of the smoldering, gotta-have-you eyebrows) as a Miami cabana boy who messes with the wrong guy's wife--Gretchen Mol as the secretarial cutie who married
gnarly Mr. Big (Ray Liotta). Before you can say AGAINST
ALL ODDS, Mr. Big is coming down hard on Cabana Boy--only, in Schrader's world, this means more mutilations, burials alive, disguises, funny accents, and
villainous moustache-twirlings than in the entirety of
Schrader claimed he wanted to go back to the nineteenth
century. And indeed, the over-the-top melodrama suggests
a desperate attempt to flee fin-de-siecle irony. But it's
always a train wreck when cerebral directors try to let go of
their book-learning and Open Themselves to Feeling. FOREVER MINE suggests a cable-movie version of Robert Bresson's two wackadoody salutes to cute young boys, FOUR NIGHTS OF A DREAMER and THE DEVIL PROBABLY; Fiennes greets Mol in a seedy motel room on which he has spray painted the words, "GIVE ALL TO LOVE." (That was the tagline of the movie's abortive theatrical run.) Like Kubrick in EYES WIDE SHUT, Schrader
tries to peel off his layers of coldness and ratiocination--but
any movie that opens with a quote from Walter Pater suggests that the filmmaker is more suited to analyzing
melodrama than expressing it.
For all the tropical gloss put on it by the great cinematographer John Bailey, FOREVER MINE has a giggle-inducing quality that's unique even to bad Schrader
movies. (In one scene, Fiennes leaves an ambivalent Mol
in her hotel room. As he walks away, he bumps his head
into a palm frond, stops, and seems to look back at the
palm frond. Fade to black. Does Schrader equate Douglas
Sirk with Ed Wood?) Now that he's expressed his inner lovesick sap, maybe Schrader can go back to who he really