An ex-boxer is drifting around after escaping from the mental hospital. He meets a widow who convinces him to help fix up the neglected estate her ex-husband left. Her Uncle talks them both...
See full summary »
Michael and Sara end their turbulent love affair to avoid destruction, with Michael calling Sara his 'sickness'. Sara, or Loon, as her friends call her, tries to start anew and move on from the troubled relationship.
An ex-boxer is drifting around after escaping from the mental hospital. He meets a widow who convinces him to help fix up the neglected estate her ex-husband left. Her Uncle talks them both into helping kidnap a rich boy for ransom money, and the ex-fighter must make decisions about his loyalties and what is right.Written by
Ed Sutton <email@example.com>
When Bruce Dern and Jason Patric are sitting in the car looking at the mansion, about 30 minutes into the movie, the reflection of a crew member is visible in the chrome of the driver side rear view mirror. See more »
Kevin 'kid' Collins:
We sat there for another half hour or so, and he was talking every minute of it. The words poured out of his mouth, and they didn't mean a thing to me. They were just a lot of noises coming from a sickish-looking face. What other people said had never meant a thing to him, and now it was his turn. Now he was meaningless and what he said was meaningless.
See more »
It's a shame that this wasn't very good because I really miss film noir and try my best to see as many of the newer Neo-Noirs as possible. The first thing I noticed about this movie was the poor lead performance from Jason Patric. He looks too scruffy to lead a film like this, and his general lack of enthusiasm doesn't do much to get the audience into the film. The rest of the film pretty much falls apart around him, as the characters aren't consistent and the plot isn't very well worked, and never becomes overly exciting. The acting is all rather downbeat and in trying to put in good performances, none of the cast really manage it. The plot follows a retired boxer who has escaped from a loony bin. He stops at a bar for a drink and soon meets a young widow named Fay. She lets him stay on a caravan on her land, and things start looking up for the ex-mental patient. However, things take a turn towards the wrong side of the law when Fay's uncle Bob turns up and convinces the pair to partake in a kidnapping that he's planning. This leaves the scruffy, lunatic, ex-boxing drifter in a sticky situation, as he to decide where his loyalties lie...
I haven't read the book by Jim Thompson upon which this film is based, and given my viewing of this film; I'm not going to bother. After Dark, My Sweet continually tries to instil the same feeling that made the classic noirs of the forties and fifties such a delight, but it always fails as the director has forgotten to give the audience any reason to care for the characters and their plights. Director James Foley also directed the very decent Glengarry Glen Ross, in which he managed to pull very strong performances out of his cast members, which suggests to me that he's a director who needs big stars in order to make his films work. The cinematography is good, but doesn't fit the tone of the film at all. This sort of film got its name for the black and white picture, so it's always going to be difficult to create a noir atmosphere with a crisp and clear colour picture. That being said, the film does look nice and the director captures the locations well. On the whole, I can't recommend this film because it doesn't do what it set out to; but anyone going into the movie expecting only a nineties thriller shouldn't be too disappointed.
6 of 13 people found this review helpful.
Was this review helpful to you?
| Report this