A young drifter discovers his true calling when he's hired by a mobster to stalk and kill a prominent accountant, and then decides to seek revenge when the stingy thugs try to kill him rather than pay him.
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It is the time of the Spanish Inquisition. Maria does not like what is going on during the "Auto De Fe". When she speaks out, she is arrested and accused of being a witch. Torquemada has ... See full summary »
William J. Norris
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A troubled young man retreats from the big city and his ex-wife for the tranquility of a small town. He is drawn into a relationship with a young woman whose boyfriend goes missing, leaving the new arrival as a suspect.
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A man in a suit at a Manhattan firm leaves work on Friday; he looks unhappy. He stops at a fortune teller's for a Tarot reading: "You are not where you belong," she tells him. That evening he quits his marriage and walks the streets of New York, passing from a classy bar to a gentleman's club, then to a high-class bordello, a mugging, a pawnshop, and a diner where someone does listen. He shares his insights with her and later with others. Violence, disappointment, and musings entwine as Edmond loses his moorings while believing he's found them. Where does he belong? Written by
At one point, William H. Macy's character says "F-ck you, f-ck the lot of you, f-ck you all!". Director David Mamet previously used this line in the film "Glengarry Glen Ross (it was shouted by Ed Harris's character). See more »
The card handed to Edmond by "Man in Bar" shows the address as 46th St., but Edmond is instructed to go to 47th St. See more »
Interesting, if not altogether captivating slice o' night and consequences of one Edmond Burke; a man who is driven to the edge, and all areas after, following his decision to essentially walk away from everything due to feeling unfulfilled in life. Working from this always relate-able premise, Mamet crafts a more intelligent, more realistic version of last decade's controversial but safe Falling Down, and in turn offers some of the year's best societal release. Problems arise however when the actions slow down and the talking speeds up, where monologues and even back and forth dialogs seem to be coming from the writer's mouth instead of the characters. This all goes south in the second half, where Macy's sermonizing kills some of the script's authenticity and integrity, due to the long-winded, self righteous, and ultimately distracting and uninvolved nature of his lines. For a film that approaches a gritty New York night with style and ease, with a scriptwriter as esteemed and knowledgeable as David Mamet, it was a shame to see some of the later scenes become a pulpit for Mr. Mamet to talk through instead of more subtle suggestion, but it is still far from making this movie avoidable. With some of William H Macy's most powerful work, Edmond is still a triumph of a character based thriller, leaving me satisfied with it's profound conclusion.
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