The crook Ray Elliot, whose former partner Jack is under a five-million-dollar contract, believes in statistics and runs a risk assessment and managing business; actually a front for a company that provides alibis to adulterous people that cheat their mates. He does not accept giving alibis for crimes and he has just hired the alluring Lola to be his assistant. When Wendell Hatch, the reckless son of his wealthy client Robert Hatch, accidentally kills his masochist date Heather in a kinky S&M game, Ray breaks his rules to protect his own name and hire some guys to clean the bedroom and vanish the body. Sooner Ray has many problems to resolve: the police are on his tail trying to find a clue about the disappearance of Heather; her jealous Mexican-American boyfriend wishes revenge against the murderer; Wendell is upset because Ray told his father about the crime; Robert is angry and hires the hit-man Mormon to kill Ray, but the killer spares him to chase Jack. When the jealous Mormon ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Lola meets with Robert Hatch in the restaurant when she walks in she is wearing red heels after they clink glasses shot under the table she is wearing thongs. The next shot of them at the table the red heels are back. See more »
THE ALIBI is a smooth, elegant, neo-noir expertly shot by guys who did pre-cog scenes in MINORITY REPORT. It is very reminiscent of Frank Tashlin's work. Tashlin was the Warner Bros. cartoonist who ended up doing vehicles for Jerry Lewis and Doris Day. While his cartoons were strongly influenced by live action cinema, his live action features had a distinctive cartoonish element.
Te same can be said for THE ALIBI which works as a very tightly knit yarn and feels as precise as a special effects sequence. This precision makes the film flow smoothly and the directors deliver Hollywood entertainment at its best.
The cast is top-notch and the attached talent is the major asset of this production.
The only major shortcoming of this feature is the complete absence of emotions and character depth. The only character fully developed is the main character and it is a shame because other characters are too flat so the story fails to emotionally resonate. The screenplay feels like the first draft and it seems that it was just a couple rewrites away from being fully developed.
This is why THE ALIBI is just a well made programmer while it seems that deep inside it possessed a much bigger potential.
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