Brewster seems to be an almost too perfect example of idyllic small-town America, with everyone living in peace and harmony. So when newcomer Whiley Pritcher starts up his own local cable ... See full summary »
To a dumpy motel in an out-of-the-way little town, a mysterious woman, calling herself only Ms. Smith, comes to stay. Not only is she stunningly lovely, but her big black convertible is a ... See full summary »
Two petty if violent criminals kidnap a girl being paid $1m to be a surrogate mother. As the baby is for a gangster the pair's demand for money sees several henchmen and assorted other ruthless characters head after them to Mexico. Bullets rather than talking are always going to settle this one. Written by
Jeremy Perkins <firstname.lastname@example.org>
The names of the main characters, Parker and Longbaugh, are the real last names of Butch Cassidy and the Sundance Kid. See more »
At the motel Robin fires directly through the door, but doesn't hit the van on the other side of it. See more »
When you think about deaf people, people who are born deaf... who've never heard a spoken word. What do you think they call the sun or their mother... or their own reflection in the mirror? That's what I call it.
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Henry Griffin is listed as P. Whipped. He is the guy whose girlfriend is yelling at Parker and Longbaugh and ends up fighting them, thus he is "P[ussy] Whipped." See more »
THE WAY OF THE GUN (2000) ***1/2 Ryan Phillippe, Benicio del Toro, Juliette Lewis, James Caan, Taye Diggs, Nicky Katt, Scott Wilson, Kristin Lehmann, Geoffrey Lewis, Sarah Silverman.
Christopher McQuarrie makes his directing debut in a big way with an obvious nod to Sam Peckinpaugh with his screenplay about two ne'er do well criminals (Phillippe and del Toro, both exemplary) who decide to make a mark for themselves by kidnapping a very pregnant surrogate mother (Lewis) to a wealthy businessman (Wilson) that eventually pans out to be a big mistake in a tangled web involving the woman's bodyguards (Diggs and Katt) and the bagman friend of the rich man (Caan in one fine, low-key performance of nuanced dread). More than enough rich dialogue and pinpoint camera angle set ups to go around with some live wire moments of unexpected turnarounds, double crosses and shoot outs may be the film's only fault in being an excess of too much of a good thing. A roundelette of pulp fiction best served by its exciting cast (as a side note, del Toro reminded me for some reason as a young Robert Mitchum in some scenes; go figure) and a filmmaker to watch.
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