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The Stray (2000)

R  |   |  Thriller  |  13 January 2004 (Finland)
4.4
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Ratings: 4.4/10 from 299 users  
Reviews: 8 user | 2 critic

After a drifter is struck by a car the driver offers to take him back from the hospital to her home in order to nurse him back to health...which turns out to be one of the biggest mistakes of her life.

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Cast

Complete credited cast:
...
Ben
...
Kate Grayson
...
Gil Draper
Frank Zagarino ...
Carl
...
Tanya
...
Keith (as Bailey Luetgert)
...
Walter
...
Collin
Leslie Ishii ...
Dr. Kaplan
John Michael Morgan ...
Blake
Fred Conklin ...
Photographer
Gloria Grant ...
Gloria Pendleton
Eric Poppick ...
Tate
...
Chief James
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Storyline

Kate Grayson is a business woman living with her detective partner Ben. That is until Gil Draper, comes crashing literally (more or less) into their lives after bouncing off her car. Upon learning this seemingly homeless drifter has been on the streets for some considerable lengthy time. Kate despite her boyfriend's objections decides to let Gil recuperate in the garage of her guest cottage. However both her family and his share a connected history and beneath Gil's friendly peaceful exterior lies a concealed grudge, dominant until now. Written by ????

Plot Summary | Add Synopsis

Taglines:

Old grudges die hard.

Genres:

Thriller

Motion Picture Rating (MPAA)

Rated R for violence, language and a scene of sexuality | See all certifications »
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Details

Country:

Language:

Release Date:

13 January 2004 (Finland)  »

Also Known As:

A látszat mindig csal  »

Filming Locations:

 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Color:

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Did You Know?

Quotes

Gil Draper: We'll there goes my cover.
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Connections

References The Shining (1980) See more »

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User Reviews

 
A Dreary Item.
26 April 2005 | by (Mountain Mesa, California) – See all my reviews

Some talented individuals are involved with the creation of this drastically inferior movie, but they appear to be functioning at cross-purposes, a result being a wearisome and hackneyed piece of hogwash with nary a visible saving grace. Most of the scenario makes little sense but it essentially involves a homeless man (Stefan Lysenko) who hurls himself in front of a quickly moving sedan driven by his target for psychological demoralization (based upon a long-festering reason): Kate Grayson, played by Angie Everhart (identified as Vonna Grayson on the package), somehow presuming that he will not die from being struck down, but will instead be asked to reside in the garage of the woman, become her intimate, and so on. This is largely a stuntathon with action frequently stuttering as the athletic performers, including vehicle drivers and riders, function in a significant number of scenes, and that is certainly to the good, as a coherent script is not in use here, and some relief is thereby given to the several capable actors on board from having to deal with consistently lumpish dialogue. Film editor Kevin Mock, in his first feature as director, provides weak helmsmanship and would have been well-advised to edit the entire piece onto the cutting room floor, for it is obvious that even if trailer footage not included in the final print were retained, failings of logic and continuity would be equally as withering as they are in the distribution release. Michael Madsen, who in general merely plays as himself in his films, and for the most part to everyone's advantage and pleasure, seems defeated, simply walking through his poorly written role as lover of Kate, while Everhart, never much of an actress in any case as with most converted catwalkers, awkwardly emotes and moves, although she performs a service to viewers by clearly paraphrasing lines from other featured players so that they may be understood, of noteworthy value pertinent to enunciation deficient Lysenko; only Seidy Lopez successfully attempts to create a finished part in the face of picayune material. Although the camera-work is excellent and settings are deployed among commonly utilized picturesque Southern California location sites such as the Château Bradbury and Sable Ranch, substandard sound quality, in combination with Mock's telegraphic bent for predictability, increases the inconsistent nature of the storyline with an intended erotic scene between Everhart and Madsen being a woeful misfire, the actress seemingly sublimating an onset of giggles, while Madsen, inexplicably cast as a bearded police "detective", no doubt finds nothing so blithesome within the entire film; in fact, one must wonder why he took on his part in this forgettable yawn fest.


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