David Warbeck stars as an instructor who marries a traumatized, crippled woman. The wife suffers from PTSD and is tormented by a traumatic event that happened in her past. What is even more... See full summary »
Alberto De Martino
A cop is gunned down on Xmas eve. Jerry Beck, the homicide cop given the job of hunting the killer, investigates some leads which bring him into contact with a group of white supremacy ... See full summary »
Penelope Ann Miller,
Rita Rizzoli is a narcotics police officer with a plethora of disguises. When a drug shipment is hijacked, the thieves don't know that the drug is unusually pure, and packs of "Fatal Beauty... See full summary »
An artist (Foster) witnesses a Mafia hit and calls the police. At the police station she realizes that the Mafia has a man in the force, so she runs. Trailed by the police, who need her testimony, and a hitman (Hopper) hired by the Mafia, she goes to Mexico, where eventually she meets the hitman, who has become infatuated after studying her art and life to prepare for the hit.Written by
Ed Sutton <email@example.com>
Dennis Hopper released a director's cut of this movie for cable TV. It is 18 minutes longer than the theatrical release and is retitled as "Backtrack ". Director's credit is given to Hopper rather than "Alan Smithee". See more »
The word sergeant is misspelled "sargeant" in the closing credits. See more »
There's something going on here that I really don't understand, but I like it.
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The theatrical release of this film is 98 minutes long. It was disowned by director Dennis Hopper and is credited to 'Alan Smithee'. The 116 minutes long director's cut was released on cable television in the USA under the title 'Backtrack'. There also exists a 180 minutes long original cut which remains unreleased. See more »
Dennis Hopper's go-for-broke-on-a-slim-budget black comedy about a hit-man falling for his target, a strange but alluring young woman who makes pop art out of neon signs. I enjoyed bits of "Backtrack" (see that, not the butchered European print entitled "Catchfire") such as the gorgeous theater in New Mexico where Jodie Foster hides out or the funny scene where she's pacing around in the bathroom, trying to decide how far she should go with her pervy kidnapper. Unfortunately, the knockabout editing leaves the film feeling somewhat disjointed and the actors are occasionally encouraged to just wing it, but without funny results. I didn't mind the ending--I was hoping for an upbeat one--but these characters don't turn out to be particularly smart people. They're dizzy, lustful little cyphers, and they might've been more engaging if they'd been written with brains.
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