5.1/10
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17 user 21 critic

Lookin' to Get Out (1982)

Two gamblers must leave New York City after one loses a lot of money. Doing what all gamblers in trouble would do, they hurry to the gambling capital Las Vegas to turn their luck around.

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Cast

Cast overview, first billed only:
...
...
...
...
Jude Farese ...
Harry (as Jude Ferrese)
Allen Keller ...
Joey
...
Bernie Gold
Stacey Pickren ...
Rusty - The Red-Headed Hooker
...
Lillian - Jerry's Ex-Wife
Fox Harris ...
Harvey - The Elevator Operator
...
Girl in Jeep
...
Parking Attendant - Gets the China Speech
...
Parking Attendant - Brings Up the Car (as Larry 'Flash' Jenkins)
Roger Rook ...
Poker Player
Bill Borsella ...
Poker Player
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Storyline

Two gamblers must leave New York City after one loses a lot of money. Doing what all gamblers in trouble would do, they hurry to the gambling capital Las Vegas to turn their luck around. Written by Melissa Portell <mportell@s-cwis.unomaha.edu>

Plot Summary | Add Synopsis

Taglines:

What they're doing is insane, immoral... and working!

Genres:

Comedy

Motion Picture Rating (MPAA)

Rated R for language and some nudity | See all certifications »
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Details

Country:

Language:

Release Date:

30 June 1983 (Australia)  »

Also Known As:

Aventura em Las Vegas  »

Filming Locations:


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Box Office

Budget:

$17,000,000 (estimated)

Opening Weekend USA:

$528,559, 10 October 1982, Limited Release

Gross USA:

$946,461
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (extended)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Co-Writer Al Schwartz based this movie on his own life as from a child growing up in the school of hard knocks in New York City trying to break into one of the roughest ends of show business there. See more »

Soundtracks

Lookin' to Get Out
Music & Lyrics by Johnny Mandel, George Doering & Jo Ellen Doering
Sung by Tommie Lee Bradley, David Palmer, Paul Delf, Mark Burger
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User Reviews

 
Fine comedy drama

It is a common practice: it is enough that a false authority (most entertainment reporters who are no film critics, just regular spectators) dislikes something, for a choir of followers to repeat his opinion and create undeserved bad reputation for a cultural product. Such is the case of (among many others) "Born to Win", "The Hotel New Hampshire" and "Lookin' to Get Out", all the three curiously made in the 1980s, a difficult times in the history of the United States, under Ronald Reagan's dominant image. Respectively directed by Czech Ivan Passer, British Tony Richardson and American Hal Ashby, the three films had something valuable to say about US individuals, institutions and customs: be it the disintegration of the couple due to drug abuse, the dysfunction of nuclear families, consumerism or a certain vulgarity that may describe Las Vegas too well. None of the three films is a masterpiece, but they rise above the low scores and bad opinions that surround them. In particular, "Lookin' to Get Out (the director's cut) did not diminish at all the great admiration I have for Ashby, one of the most underrated American filmmakers, with a magnificent work that includes "The Landlord", "Harold and Maude", "The Last Detail", "Shampoo", "Bound for Glory", "Coming Home", "Being There" and the documentary "Let's Spend the Night Together", all containing his privileged perception of his fellow Americans and their cultures: who has ever made any two titles of those, has the liberty to make lesser films as "8 Million Ways to Die" or "Lookin' to Get Out", which are not bad at all. Written by Al Schwartz and Jon Voight, "Lookin' to Get Out" is a typical American film comedy drama about gambling buddies, prostituted women, exaggerated bad taste, and a peculiar cultural way of reacting to troubles, stuff that has being the basis of dozens of dramatic comedies, much worse than this, in which Voight and Burt Young try to get out of trouble, when they have to pay 10 thousand dollars in 24 hours, and the only solution they come up with is going to gamble in Las Vegas, where Ann-Margret crosses their path with a different agenda. The plot, which does not aspire for an award to originality, benefits however from the performances of the central cast (Voight, Young, Ann-Margret, Bert Remsen and Richard Bradford), without forgetting the contribution of a group of unknown faces that add weight to the story being told; from maestro Haskell Wexler's cinematography; and mainly –in my opinion- from Ashby's hand, from his subtle and affectionate style to capture the fragility of the demented characters, to handle with caution the grotesque and violent, but without suppressing those events and attitudes that offend human dignity, day after day. If you find a copy of Ashby's cut, don't miss it. You will add another title to the gallery of good performances by Voight, Ann-Margret and Young, your appreciation of Ashby will not be affected a bit (unless you have overrated "Harold and Maude") and, as a bonus, you'll see Angelina Jolie (Voight) at six, playing her talented father's little girl. The extended version edition includes a reunion of the actors, who evoke Ashby's memories and his working method.


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