Scudder is a detective with the Sheriff's Department who is forced to shoot a violent suspect during a narcotics raid. The ensuing psychological aftermath of this shooting worsens his ...
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A major league star who is on the verge of breaking a record, meets a singer and they get married, but they have different goals, so they separate, jeopardizing his opportunity in sports and the possibility of making up with his wife.
Rebecca De Mornay,
At the age of twenty-nine, Elgar Enders "runs away" from home. This running away consists of buying a building in a black ghetto in the Park Slope section of Brooklyn. Initially his ... See full summary »
San Francisco heiress Page Forrester is brutally murdered in her remote beach house. Her husband Jack is devastated by the crime but soon finds himself accused of her murder. He hires ... See full summary »
Scudder is a detective with the Sheriff's Department who is forced to shoot a violent suspect during a narcotics raid. The ensuing psychological aftermath of this shooting worsens his drinking problem and this alcoholism causes him to lose his job, as well as his marriage. During his recovery through Alcoholics Anonymous, he meets a mysterious stranger who draws him back into a world of vice. In trying to help this beautiful woman, he must enter a crime-world of prostitution and drugs to solve a murder, while resisting the temptation to return to his alcohol abuse.Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
As Oliver Stone was busy in Mexico shooting Salvador (1986) and thus unable to rework his screenplay before production began, Hal Ashby started to write his own script for 8 Million Ways to Die (1986). Ashby worked from both Stone's script and the original novel by Lawrence Block as well as his own research. The fifty pages that Ashby wrote had neither the fiercely evocative color of Stone's screenplay nor particularly exciting dialogue, yet they were the starting point for a much more complex and psychologically interesting film and were consciously designed as a blueprint that the actors and possibly other writers could move forward with later. Ashby gave the fifty pages he wrote to producer Stephen J. Roth (who said he liked them) but abruptly stopped work on his screenplay when he discovered that, without his knowledge, PSO had hired R. Lance Hill to rewrite Stone's script. Ashby, who had confidence in his own screenplay, felt hurt and told Roth, "I don't think I have ever had that one happen to me before." He was further upset on learning that Hill was to report to Mark Damon, cutting Ashby out of the rewriting process completely. See more »
When Angel hands over cheek slaps and hugs to his colleagues before the showdown, a boom mic operator changing his position can be seen reflecting from the side of the car in front. See more »
You're just an opportunistic prick who'd fuck mud if it'd move a little and not argue too much.
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Not convincingly performed, with a hell of a dramatic climax in that warehouse, which is the bit that this movie is mainly remembered for. Yes, I saw it decades ago, and tonight, on DVD. And what was good back then, now just seem ludicrous. But I'm RavenGlamDVDCollector@gmail.com and not here to discuss the action parts.
Alexandra Paul must have been desperate for an acting job. Gee, she plays somebody whom lieutenant Stephanie Holden of BAYWATCH fame would have loved to set straight. Hey, full-frontal nudity as 'the streetlights makes her pubic hair glow'... She does seem utterly, utterly miscast... This might be because of this hindsight.
But the main reason to watch glamor-wise is (cue the Toto song here: Ali I wanna do when I wake up in the morning is see your eyes, Rosanna, Rosanna): Lady Rosanna Arquette. And although the script literally has yucky moments, once she is thrown into the shower and the unnecessary makeup is washed off, wow, dudes! What a stunner!
I've cheered for this actress during the Eighties. She wasn't in successful big hit movies, real success eluded her, and I saw all that potential going to waste. Here's a good one though, to remember her by. That scene where she's clearly naked under the bedsheets, oh wow dudes! MY HEART PUMPS CUSTARD FOR HER, to coin a phrase.
To the prudes reading this: I'm just an old boy. If you saw this movie when it was on the cinema circuit, and you're waffling on about it almost 30 years later, of course you have to be an Old Boy. And Old Boys appreciate pretty girls. And get kinda silly drooling. Sigh.
If you're not into seeing these two actresses, and just want action action action this might not really be the movie for you. Lots of the action scenes are seriously flawed. Hell, he's out of work, ruins his car, yet it just stays roadworthy in the next scenes. And why don't the baddies just shoot him down in that stand-off scene?
Five stars go to Rosanna Arquette, the other star is for that glorious Clint Eastwood-y moment when Scudder fires his gun after coming to Sarah's rescue. Cinematic perfection!
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