Donte Clark's poetic voice was honed on the violent street corners of a struggling city. Yet rather than succumb to the pressures of Richmond, CA, Clark uses his artistic perspective to help save his city from itself.
The life and death of the legendary Ludwig van Beethoven. Besides all the work he is known for, the composer once wrote a famous love letter to a nameless beloved, and the movie tries to ... See full summary »
An eager and idealistic young attorney defends an Alcatraz prisoner accused of murdering a fellow inmate. The extenuating circumstances: his client had just spent over three years in solitary confinement.
Detective Jack Grimaldi (Gary Oldman) takes us through his shattered life after encountering the most deadly (and deceptive) criminal he has ever had to deal with. It doesn't help that Grimladi is playing both sides against the middle. When he encounters Demarkov (Lena Olin) he thinks he can play her as he has all the other women in his life...including his wife. But Demarkov knows Jack better than he knows himself. She plays him mercilessly, all the while threatening to kill him when she tires of the game.Written by
According to Bon Jovi's "100,000,000 Bon Jovi Fans Can't be Wrong" collection, Jon Bon Jovi mentioned in the confession book that he wrote the song "Always" for this film. He didn't like the movie, so he exercised his right to pull it from the film. Later, the song became Bon Jovi's biggest selling single at the time. The song never did appear in the soundtrack or the film. Jon does not consider the song a love song. He refers to its narrator as "one screw-less Looney Toon". See more »
When Jack shoots Lena in the large floor area, after discarding the weapon, the camera pans out and we see two cops atop the stairs just standing as if nothing took place. See more »
You ever seen a ghost? There's this guy. Comes in here. Every May 1st. Every May 1st, every December 1st. Like clock work. What's he want? Well, frankly, I ain't exactly sure. He had the strangest story to tell. He left this here and I keep it for him. How do I know he'll be back? What's that? A woman was involved? Hm, just fits. I was married once myself. Beautiful girl. By the way my name is Jim Daurighty. I run this place. His name? Sure. His name is Jack Grimaldi. Hey, there he is now!
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Romeo Is Bleeding is directed by Peter Medak and written by Hilary Henkin. It stars Gary Oldman, Lena Olin, Annabella Sciorra, Juliette Lewis and Roy Scheider. Music is by Mark Isham and Gary Alper and cinematography by Dariusz Wolski.
Oldman plays corrupt cop Jack Grimaldi who does favours for The Mob in exchange for considerable payments. He has a loving wife and a mistress, but even that can't satiate his lust leanings. So when he is assigned to babysit Russian hit-woman Mona Demarkov (Olin), he is soon up to his neck in sexual yearnings. Something which spells trouble for everyone...
A box office flop and savaged by some pro critics, Romeo Is Bleeding is clearly not a film for everyone! Yet for those who like their neo-noir sprinkled with satire and Grindhouse flavours, it's definitely the film for you. It's possible that some folk just didn't get it, that it has its tongue firmly in its bloody cheek? While some of the charges of misogyny and it being a macho fantasy are kind of moot given it's written by a woman! Undeniably it is guilty of going too far over the top, where as it cheekily laughs at itself it forgets to rein itself in, a problem since the finale is surprisingly touching but difficult to accept given the carnage previously.
The trajectory of story is classic noir. Hapless corrupt copper Jack Grimaldi loves his wife but finds it easy to cheat with other women. Once the incredibly sexy Mona Demarkov slinks into his view, he's in big trouble. Add in The Mob after him due to not carrying out a "hit" and you get a noir protagonist spinning towards misery. Grimaldi narrates in snatches to keep the mood simmering on desperation, while visual smarts like a triplicate mirror image - or a scene at a amusement park - further enhance the noir atmosphere. While Olin's Demarko has to rank as one of the most potent femme fatales to steam up the screen.
Superbly performed by the principal actors and backed up with solid support, film doesn't lack for quality in that department. And with Wolski's photography and Isham's music also leaving indelible marks on the sleaze and greed mood, tech credits are impressive. If only Medak had not tried to take too bigger a slice of cake then this would be talked about as a neo-noir classic. As it is, as appendages are lost and the pulses raised, this still plays out as a disgustingly sexy, weirdly off-kilter and bloody fun piece of film. 7.5/10
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