A study in culture bridging, including ... a new US-born husband, trying to work within the traditional ways, a new China-born wife, eager to join the "dream" of America, two family-minded ... See full summary »
Unhappy wife has an affair with a stranger. He falls for her and reveals that he's in fact a hitman hired by her cheating husband to kill her. She confronts her husband, but he claims innocence. Who to trust?
Lenny von Dohlen,
A man is hired by a group of people he believes to be gangsters to escort a briefcase from America to Hong Kong. When he arrives, however, his contact is nowhere to be found. With no ... See full summary »
When Ellen Cole goes undercover at a mental asylum to rescue her brother, she is unaware that she is about to encounter her worst nightmares, for St. Mariahs Hospital for the criminally ... See full summary »
A MAN, A WOMAN, AND A KILLER is the story of a small-time gangster (Dick Richardson) writing his journal in a Mendocino, California, farmhouse, as he awaits a hit man who is coming to kill ... See full summary »
Scott Weston is a private investigator who is supposedly hired by a rich businessman to determine whether or not his beautiful wife is fooling around behind his back. During the course of ... See full summary »
De Luca is killed by Marchetti's chauffeur. Marchetti ordered the murder because he was to be accused by De Luca. The two have a car accident while going home to get an alibi. There is a ... See full summary »
A cartoonist who had an affair with a girl who is murdered gets himself embroiled in a high-level cover-up of a sex scandal involving his lover. By using his artistic talent to try and reconstruct the scandal, he attracts attention to himself by the people involved, and becomes a target himself.Written by
Ed Sutton <firstname.lastname@example.org>
After writing and directing Chan Is Missing and Dim Sum: A Little Bit of Heart, the latter receiving "mixed reviews [and] modest [...] box office earnings", Wayne Wang chose to direct Slam Dance to avoid being seen as a director primarily of stories about Chinese Americans; as such, it was Wang's first film in which none of the main characters are Chinese. See more »
I overpaid a bit for that, but I think its value is about to skyrocket. That's what usually happens when an artist dies.
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I may be a one-person cult for this picture. I have had a soft spot for it ever since I saw the movie on the late show in 1989. Some of the other reviewers for this title have made a reasonable assertion as to why they don't like SLAMDANCE, and interestingly enough, I understand and agree with their decisions. Yes, this movie is a disjointed mess, but it has a strange beauty on a visceral and emotional level; this sets it apart from way too many films made in the decade which threw everything together in order to seem different, regardless of whether everything gelled.
For instance, this film veers uncomfortably from goofy comedy to more sordid material. However, that makes sense as the central character is a cartoonist- a man-child who teeters between the comic book sensibilities of his work, and the demands of the very adult real world (he seldom lives up to his responsibilities). Mr. Drood is a perpetual screw-up; he was barely supportive of his wife and child, and now must deal with unfathomable emotions since he is now implicated in the murder of a fleeting flame.
I've never been much of a fan of Virginia Madsen, particularly because this classy, slightly mysterious blonde has never been given good material... at least until recently. But Wayne Wang understands her screen presence perfectly. The highlight of the film is Tom Hulce's scenes with her (set in the movie's past). These moments with the femme fatale are beautiful evocations of allure, desire and implicit danger underneath the colourful settings- classic traditions of film noir. With their saturated hues and sexy jazz soundtrack, these moments work on an almost dreamlike approach.
Even though SLAM DANCE is a dog's breakfast of styles and tones, this segment is nonetheless indicative of the film's success on a completely non-literal level. Yes this is another 1980's quirky film which has the obligatory cameo by a punk musician... and the "hip" quotient also given by a Harry Dean Stanton role, but there's just something more about it that makes not just another curiosity piece. The first time I saw it in 1989, I was with two others who didn't like the movie at all. As much as I could understand their reasons why, I still feel that this odd duck of a movie has that special "something"... and I have still felt that after repeated viewings. It either works for you, or it doesn't. It just depends on whether the film hits you on the right emotional level.
If you looked up this title because you have a strange attraction to this picture, you're not alone.
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