In 1972, the conflict in Vietnam continues. The creeping threat of communism grips the nation in fear. In an abandoned prison on the US/Mexican border, KGB mole Nikolai Dzerzhinsky waits ... See full summary »
In 1972, the conflict in Vietnam continues. The creeping threat of communism grips the nation in fear. In an abandoned prison on the US/Mexican border, KGB mole Nikolai Dzerzhinsky waits for his contact from the Washington Post. He holds explosive evidence against the CIA, information he will trade for asylum in the United States. Special Agent Robert Harper's orders are clear: take the documents from Dzerzhinsky and kill him. Written by
One (1) of the Russians from 15 Minutes (but temper him till we can empathize--in this case with a standout performance by Ross Marquand that in many aspects leaves in the dust the rest of the community theater cast who get any real screen time, aside from a couple big-name-recognition cameos that do leave you wanting more).
One (1) Bob Woodward-like character from All the President's Men.
One (1) '70's parody detective character from Tom Jane's Stander.
One (1) Ed Harris-like, Fedora-wearing Parcher-based character from A Beautiful Mind.
One (1) Serpico look-alike good-guy-turned-bad-guy. Pinch (to taste) of generic, disposable "red-shirt" henchmen (or is it now "hench-people" or perhaps "hench-persons"?) extras.
On a mise-en-scène stovetop with lighting inspired by the look and feel of Peckinpah's Wild Bunch, stir in the plot of the SciFi film Enemy Mine over very low heat, bind one character to a chair a la Reservoir Dogs (but "torture light," please rest assured that no ears, or 'nads--"I get my kicks above the waistline, Sunshine!"--were harmed in the making of this movie). Add a touch of virtually any and all Die Hard films, then barely simmer for 94 minutes, and
What you'll be rewarded with here is a technically proficient, impressively-executed-for-an-incredibly-low-budget, film that's touring the festival circuit in 2010-11. A Lonely Place for Dying definitely clears the bar technically (and kudos on achieving that look for only $200k), but just sneaks under the fence creatively, albeit with a few memorable lines and set pieces. Aside from achieving some very nice visual effects, enviable ambiance, and the accompaniment of a very professional and dense musical score (that unfortunately sometimes seems to cover up "important" dialog) at really rock-bottom prices, there's not a lot to see here that you haven't already seen, BUT with the right backing and a real budget, Robert Rodriguez-style director Justin Eugene Evans clearly demonstrates that he has his technical chops well in order, and he just might pull off a darned good film in the near term if he stays focused and motivated...and uses fresher, home-grown ingredients!
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