When an escort girl is found dead in the offices of a Japanese company in Los Angeles, detectives Web Smith and John Connor act as liaison between the company's executives and the investigating cop Tom Graham.
Jessie is an aging career criminal who has been in more jails, fights, schemes, and line-ups than just about anyone else. His son Vito, while currently on the straight and narrow, has had a... See full summary »
Three notebooks supposedly containing Russian military secrets are handed to a British publisher during a Russian book conference. The British secret service are naturally keen to learn if these notebooks are the genuine article. To this end, they enlist the help of the scruffy British publisher Barley Blair, who has plenty of experience with Russia and Russians. Barley, an unconventional character who doesn't respond well to authority, finds himself in a game more complex than he first thought when he digs into the origin of the notebooks.Written by
Murray Chapman <firstname.lastname@example.org>
The second American movie production to film in Russia. The first had been Red Heat (1988). See more »
Near the end of the movie, at the American control center, when an assistant hands Ned a cup of coffee, he tips it enough that you can see the cup is empty. See more »
Do you believe this nonsense?
Bartholomew "Barley" Scott Blair:
I don't know. I believe it when I say it. But you've got to be there: you're taking a leak in some filthy public urinal and the man in the next stall leans across and asks you about God or Kafka or freedom versus responsibility; so you tell him because you know, because you're from the West. And before you've finished shaking your dick you think:"What a great country!" That's why I love them... and they're very fond of me.
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i wish to opine merely on the film-scoring aspects of this feature. Jerry Goldsmith wrote a compelling and sexy set of themes which are used to great effect in this film. it surprised me, having watched the movie for probably the 5th time the other night, how integrated and present the music is. now, to a large degree this is normal with a modern hollywood feature. but i found that objectively viewing the film from outside the story itself, the music carries a greater weight than in most films of its genre. this is perhaps the choice of the director or the producers, but in either case, Goldsmith (and Marsalis in performace) does a wonderful job of lifting an otherwise lethargic script (as do Connery's and Pfeiffer's performances). the film itself could have been 20% better, but it would most certainly have come at the expense of the musical score and soundtrack, which really shine in this rendering.
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