The movie opens in a Los Angeles convenience store one late Monday night, where a smalltime drug dealer named Nick (Aaron Eckhart) is trying to decide what coffee brand to buy. His ex-lover...
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The movie opens in a Los Angeles convenience store one late Monday night, where a smalltime drug dealer named Nick (Aaron Eckhart) is trying to decide what coffee brand to buy. His ex-lover Dallas (Paulina Porizkova) and fellow hitman Billy Hill (James LeGros) are getting impatient and tell him to hurry up. Conflicts between Nick and the cashier (Luck Hari) ensue, resulting in Dallas shooting the cashier dead. Though the three attempt to cover up the crime, they are forced to also shoot a police officer (Bari K. Willerford) when he discovers blood on the ground.Written by
The late Roger Ebert hated this movie so much, that he almost literally denounced it on his show "Siskel & Ebert" in an episode about movies featured during the Toronto Film Festival in the Fall 1998. He found the movie "disturbing" and his major complaint was racial stereo types and the gratuitous violence that was featured in the film. The film barely came out theatrically and literally went straight to video and cable almost instantly appearing in 1999. See more »
51:30 into the movie, the amount of cocaine on Nick's nose changes during the end of the big drug deal scene. See more »
Want a film that's hip, loaded with attitude, funny and shocking at once, packed to the rafters with wild lowlifes? Skip Woods has delivered one, but about five years too late. We've seen everything in THURSDAY before, so you'd best enjoy this film without the baggage of seeing PULP FICTION - and that's a tall ask.
Compared to FICTION or RESERVOIR DOGS , THURSDAY is as flawed as you'd expect. Spontaneous raps about Star Trek, the sadistically amusing torture of a helpless, bound man, and drug-dealer flashbacks all ring a bell. It's derivative, but it's still fun.
Against the leagues of Tarantino ripoff's on the market, you could do much worse than THURSDAY. The day-in-a-life saga, and flexible pace are sometimes a blast. The violence makes you squirm and laugh, so at least it hits the mark, even when it aims low. And the havoc sown on the picturesque picket fence suburb is cruelly effective.
Going out of his way to shock, Woods' film goes wrong because for all his youthful arrogance, THURSDAY isn't half as original as he no doubt thinks. And be warned, the ending is a travesty. It's abysmal and uninspired enough to make you reassess the merits of the picture before the credits have even begun.
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