After she discovers that her boyfriend has betrayed her, Hilary O'Neil is looking for a new start and a new job. She begins to work as a private nurse for a young man suffering from blood ... See full summary »
Veteran reporter Peter Brackett is enjoying new found fame after his book, "White Lies" is published. When he is asked by his newspaper "The Chicago Chronicle" to report on a train crash, he notices new reporter Sabrina Peterson. Brackett's complacency gets rudely shocked by Peterson's report for the rival "Chicago Globe." What follows next is a mad race between the reporters who then cook up possible events that lead up to the crash. After an initial spate of mad reporting, both settle down to get the facts straight, which leads them to uncover opposing information. When each gets setup to be killed at the same place, they escape, and then agree to work together. While they initially do not trust one another, they eventually come to work together to uncover the truth behind the train crash.Written by
Thejus Joseph Jose
Nick Nolte and Julia Roberts refused to shoot their later scenes together, necessitating some quick rewriting and clever editing and camera tricks. By some accounts they did more scenes with stand-ins than with each other. See more »
Peter and Sabrina are told to go to O'Hare Airport in Chicago and catch the overnight plane to Madison, Wisconsin. The drive time from downtown Chicago to downtown Madison is two and a half hours. See more »
Honey, we've been rescued.
[Peter steps forward, Sabrina, completely naked and wet, grabs him and pulls him back, going from an embarrassed smile to great alarm]
What are you dong?
Don't do this to me, please.
Was I hearing things, or did you call me a second rate novelist?
I-I... I was kidding. I've never even read your book. I'm sure it's quite brilliant.
[steps forward; Sabrina is forced to step with him]
Oh, what are you doing? Walk backwards!
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That this film fails on so many levels and still remains watchable, if not actually enjoyable, must be a credit to someone involved in the production; it's just not immediately clear who.
There are three main problems with the movie. One, the attempt to graft the noirish elements onto a hi-tech industrial-intrigue plot, which results in an uncomfortable mix of pulp culture from two generations: the hardboiled detectives of the '40s thrust into the realm of today's potboiler mystery bestsellers. Whereas the earlier style was streamlined, and relatively simple and focused, today's genre authors seemingly compete for who can make the most convoluted plot with sidetracks, red herrings and subplots galore. This contrast leaves the film trying to go in two directions at once.
Two, the relationship between the leads is never quite satisfactory. Roberts and Nolte are just not cut out for their cut-out roles, and while they try gamely, it's tough to buy them as reporters who bicker, and almost impossible to imagine them falling in love, even though its obvious from the first reel that this is where the story will take them. Three, the film is far too long, and it becomes a chore to maintain attention and interest in what happens.
On the plus side, there are some redeeming features. The plot plays its cards close enough to its chest that some elements of the ending come as an untelegraphed surprise. The comic touches are successful enough, especially in the bickering between the two as they try to out-do each other in getting the scoop for their respective newspaper. The camera work and editing employ some tricks to freshen up some scenes and the cuts between them. The only problem here is that once the same trick is employed more than once or twice it becomes a little tiresome.
We're left with a very standard piece of work, but one that works just hard enough to keep it relatively entertaining but not quite memorable, even for Nolte and Roberts fans.
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