A private detective is hired to find a missing stripper but the job turns complicated when everyone he questions ends up dead. From the mean streets of Los Angeles to the desolate desert of New Mexico, Cruz must contend with a brutal Russian Boxer, three brash LAPD detectives, an aged billionaire looking for the Big Bang, and the billionaire's stunningly gorgeous wife. The solution to the mystery will cost ten lives, net $30 million and just might explain - well - everything. Written by
The first decision made by Tony Krantz was to shoot the movie in color because the majority of the noir films are in black and white. See more »
The Thunderbird Antonio is driving in most of the movie has no back seat, just half moon headrests that go into the back deck. In the last scene as they are driving away, the waitress and the gecko/lizard are in a backseat. See more »
I'm not quite sure how to rate this movie. It's very well made, with excellent (if somewhat typecast) acting from all involved. The direction shows a real sense of style, making bold use of color, hue, saturation, surreal environments, and dream-like sequences... yet all of these seem directly lifted from a David Lynch movie. Indeed, the director has even produced a Lynch movie (Mulholland Drive). The dreamy yet rocking score from Johnny Marr really gives life to the movie, yet constantly sounds like lost tracks from Achtung Baby, the U2 album. And then there's the story. I love the story, but I loved it even better when it was a Wim Wenders movie called Until the End of the World.
This movie is pure plagiarism, right down to the soundtrack (Johnny Marr, what happened?!), but it's excellently made. As an unauthorized and uncredited American remake of Wim Wenders' awesome 1991 movie, there's both a lot to love and a lot to hate.
Someone should be facing a lengthy legal battle right now, and it's a shame, because this movie is so well done. Maybe next time the director will find his own vision, instead of plagiarizing his idols.
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