A former L.A. drug dealer tries to go straight but his past and his underworld connections bring him into the focus of the DEA, the Mexican feds and the Mexican drug cartels.
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A farming family battles severe storms, a bank is threatening to repossess their farm, and there are other hard times in a battle to save and hold on to their farm.
When a multimillionaire man's son is kidnapped, he cooperates with the police at first but then turns the tables on the kidnappers when he uses the ransom money as a reward for the capture of the kidnappers.
A man obsessed with conspiracy theories becomes a target after one of his theories turns out to be true. Unfortunately, in order to save himself, he has to figure out which theory it is.
After a successful heist, Porter is shot by his wife and his best friend. They leave him there to die but when he recovers, he seeks revenge and wants his share of the money.
Martin Riggs and Roger Murtaugh pursue a former LAPD officer who uses his knowledge of police procedure and policies to steal and sell confiscated guns and ammunition to local street gangs.
A burglar holds a knife to Karen's throat while her husband does nothing. The couple ends befriending the cop that comes. The friendship ends when the cop beats up the culprit. Karen isn't ready to end it. Things get ugly with the cop.
Mac Mckussic is an unlikely drug dealer who wants to go straight. His old and best friend Nick Frescia is now a cop who is assigned to investigate and bring him to justice. Mac is very attracted to Jo Ann, the owner of a stylish restaurant. Nick gets close to Jo Ann attempting to know more about Mac's drug dealing plans and his connections with the Mexican dealer Carlos, who the police believe is coming to town to meet with him. Nick also falls for Jo Ann's charms and his friendship with Mac is in danger.Written by
Sami Al-Taher <staher2000@yahoo.com>
Warner Brothers agreed to finance and produce this film, after Robert Towne agreed to a settlement of 2.5 million dollars, after they had pulled out of the post-production of his directorial debut film, Personal Best (1982). The deal was contingent that the studio would let Towne not only write the film, but also direct it, according to Thom Mount. See more »
Goofs
When Pfeiffer is at the police station getting her chef released, Russell pulls up and parks directly in front of her car. When they leave the station, his car isn't there and Pfeiffer is able to drive away unobstructed. See more »
Quotes
Carlos:
With you, Mac, I trust with my life, but you keep me waiting all goddamn night without showing the slightest sign of worrying about me.
McKussic:
Hey, I'm sorry, man.
Carlos:
Forget it, you had your hands full. I could see that. What's more, you fuck like a world champion. Four fucking hours! Those cops out there are terrified their wives are going to hear about this. I got starved just watching!
[tastes Jo Ann's food]
Carlos:
She can cook too, this girl. Believe me, if she'd be willing to take out the garbage, marry her...
See more »
Crazy Credits
As the end credits roll, the color of the text changes from dark orange (at the bottom of the screen) to yellow (at the top), mirroring the colors of a Tequila Sunrise cocktail. See more »
This movie is so mediocre, it screams to want to be a better movie. So that's the frustration you get as you watch some really good moments get buried in TERRIBLE dialogue, goofy plotting and ridiculous characters. Why did I think it was the middle of the road? It is well made. By well made, I mean it looks and feels like L.A. in the late 80's. It's sweaty, everything looks late afternoon and reminds me of tequila on cocaine. It's the atmosphere of that time. And it's perfect. Then you get these bobbleheads who ruin it with talking. Frankly, I've never seen Michelle Pfeiffer so wooden. She's got as much sex appeal in this movie as a billboard for genital herpes. Russell is grossly mis-casted. Strange how Alec Baldwin was first considered. It would've been an interesting choice.
With all the earnest dark brooding noir sense, it becomes slapsticky Mel at the end (with Raoul Julia). While fun, negates the rest of the movie. This thing was a patchwork, not yet fully cooked before production started. Still, love L.A. in the 80's though.
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This movie is so mediocre, it screams to want to be a better movie. So that's the frustration you get as you watch some really good moments get buried in TERRIBLE dialogue, goofy plotting and ridiculous characters. Why did I think it was the middle of the road? It is well made. By well made, I mean it looks and feels like L.A. in the late 80's. It's sweaty, everything looks late afternoon and reminds me of tequila on cocaine. It's the atmosphere of that time. And it's perfect. Then you get these bobbleheads who ruin it with talking. Frankly, I've never seen Michelle Pfeiffer so wooden. She's got as much sex appeal in this movie as a billboard for genital herpes. Russell is grossly mis-casted. Strange how Alec Baldwin was first considered. It would've been an interesting choice.
With all the earnest dark brooding noir sense, it becomes slapsticky Mel at the end (with Raoul Julia). While fun, negates the rest of the movie. This thing was a patchwork, not yet fully cooked before production started. Still, love L.A. in the 80's though.