A high school swim champion with a troubled past enrolls in the U.S. Coast Guard's "A" School, where legendary rescue swimmer Ben Randall teaches him some hard lessons about loss, love, and self-sacrifice.
In a future where the polar ice-caps have melted and Earth is almost entirely submerged, a mutated mariner fights starvation and outlaw "smokers," and reluctantly helps a woman and a young girl try to find dry land.
Earl Brooks is a highly respected businessman and was recently named Portland's Man of the Year. He hides a terrible secret however: he is a serial killer known as the Thumbprint Killer. He has been attending AA meetings and has kept his addiction to killing under control for two years now but his alter ego, Marshall, has re-appeared and is pushing him to kill again. When he does kill a couple while they are making love, he is seen and photographed by someone who also has his own death and murder fetish. In a parallel story, the police detective investigating the murder is having problems of her own. She is going through a messy divorce and a violent criminal who had vowed revenge some years before has escaped from prison and is after her. Written by
When Demi Moore's character is up on the parking lot rooftop with Mr. Smith (Dane Cook), she gets him out of his car and says something along the lines of: "Didn't you say you were a potter? One who likes to make ceramic bowls or vases?" Mr. Smith replies: "No I never said anything about making pots or bowls, I said I was an amateur photographer". This seemingly random question only makes sense if you watch the deleted scenes (on the DVD) where, during the crime scene of the couple he kills (the one with the drapes open), they find a small ceramic sample (the type that is used with a kiln) left behind in the carpet fiber. Mr. Brookes had apparently tracked it onto the crime scene from his basement, but the director cut it believing it didn't work because Mr. Brooks is portrayed as too much of a meticulous planner for that to happen. See more »
On the way to the cemetery when Mr. Smith pulls his gun on Mr. Brooks the hammer is pulled back. During their conversation Mr. Smith pulls the already cocked hammer back again. See more »
Mr. Earl Brooks:
Oh God... God, grant me the serenity to accept the things I cannot change.
Why do you fight it so hard, Earl?
See more »
A thumbprint forms the backdrop for the end credits. See more »
This movie is bad. The acting... eh, passable. I guess. It's hard to tell given the ghastly characters the actors were given to animate. The main character is the only one who can be called 3 dimensional, and that's only because his id hangs out in the backseat filling us in. Cheaters.
The main character is the only one with half a brain. The writer lets you know repeatedly that he's exceptionally brilliant. The usual cat-and-mouse that is the fun part of a murder mystery is completely absent. The detective has no amazing insights. She has a hunch. Yes, that's the brilliant sleuthing with which the writer has decided will entertain us. The only thing we know about the detective is that she's going through an idiotic divorce, where we're supposed to feel sorry for her for having to give up 1/60th of her networth. That's it. Oh. And there's a vapid "revelation" at the end about her life's motivations.
Death is never realistic. None of the victims are made to be remotely sympathetic or even human except in the sense of being human-shaped. They're just plot points. The only exceptions are a couple of people we've met just long enough to establish them as Scummy Enough To Kill.
In the end there is STILL no one likable. What's more nothing is resolved. In the meantime you've watched several gratuitous deaths and a death scene reminiscent of Paul Reubens's in the original Buffy movie.
Whoever wrote this must have been some 22 year old guy wishing he could try out serial killing for a living. And that was the extent of his writing expertise. He (and I assume it's a "he") has no experience with grey areas, and no experience with human motivations and complexities that make watching thrillers entertaining.
Worst of all, he has no idea of the horror that is murder. Clearly to this writer it's an abstract idea that moves the plot along and provides some gore with which to wash it down. If you're going to do gore, go over the top and make it cartoonish, a la Sin City or any Tarantino. Then we can enjoy it. Mr. Brooks, however fails as a cartoon, and fails as a horror film. That just leaves us with thriller, and this amount of context-less blood is out of place. Chandler described Hammet as "having taken murder out of the drawing room and dumped it in the alley where it belonged". If this movie is any indication, significant backsliding has taken place.
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