Abel Grey is sent to investigate the death of a boy from an exclusive local school, who is found floating in the river. Fearing scandal, the school insists it was suicide. But after ... See full summary »
A high school baseball coach (Krumholtz) and a down-on-his-luck private investigator (Burns) form a bond as they scour New York City for the coach's wife, who's run away with a second-rate ... See full summary »
Tommy Linklater is an eighteen-year old magician. The magic he performs is often minor - re-directing croquet balls, making cards appear in closed purses - it is always genuine; he actually... See full summary »
Abel Grey is sent to investigate the death of a boy from an exclusive local school, who is found floating in the river. Fearing scandal, the school insists it was suicide. But after discovering from the boy's girlfriend, Carlin, that he was being badly bullied, Abel suspects that a dangerous schoolboy initiation has gone horribly wrong and he secretly solicits the help of a sympathetic teacher, Betsy. He is warned off the investigation by his boss, as the school is a generous benefactor to the Police benevolent fund. Abel, however, cannot let the case go, not only because his own brother committed suicide years before, but also it seems that the spirit of the dead boy is leaving them clues as to what really happened that night. Written by
At the end of the film, Abel's father, Ernest, recalls how Abel's brother had hugged him the day that he committed suicide. Ernest then remarks that he found it strange because it wasn't Frank's way. This dialogue is taken directly from a scene where Abel is talking to his mother rather than his father. See more »
After pulling Gus' body from the river, Abel and Joey's boots and pants are perfectly dry. It would've been impossible for them to pull the body from the river without at least getting their boots and pant legs wet. See more »
I like to like movies that qualify as small gems. TRK had all the potential for such and, for the first forty minutes or so, looked to qualify. The acting wasn't bad (Ed Burns is just a bit too low key) the script is crisp and the pacing, shoot and story suspenseful. Indeed there were a dozen different prospects for; e.g., who the bad guy was going to be. I can't agree with some of the other comments herein that there was enough mood, fine acting, dialog, etc., to distinguish TRK as excellent cinema. But again, after more than a half hour I'm totally absorbed by the plot potential.
It is almost as if TRK sets up the viewer for a thousand possibilities only to intentionally fulfill absolutely none of them. A move "fizzles" when it paints itself into a corner then escapes in a clumsy manner. TRK paints itself into a corner and then climbs out a window. Again, there are not enough fine points about this movie to make it enjoyable on another level. Virtually every aspect of the build-up centers on facts, twists, questions, etc., that go unanswered. It is truly difficult to imagine what the makers of TRK wanted the viewer to enjoy about this movie.
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