When Juvenal, a presumed miracle worker, appears on the scene Bill Hill attempts to exploit him but his plans go astray with the untimely intervention of August Murray and the developing ... See full summary »
A Pittsburgh detective is kicked off the force for beating a rape suspect and moves to L.A. There, he becomes the central force in a bullet ridden neighborhood battle to win back its streets from brutal gang members.
Two stories, 14 years apart, converge in a suburb of New York. Manuel Esquema, an international financier, whose face is badly scarred, is flying from Miami to help a New York politician negotiate a plea bargain with the Justice Department. Years before, this financier was a fresh-faced cabaña boy at a Miami Beach resort who fell in love with a young woman on holiday with her husband. The husband is now the pol, and he thinks he dispatched the cabaña boy long ago. What are Esquema's plans: revenge, mercy, or a complicated plan to seek again the woman's love?Written by
Filmed at Don Cesar Hotel in St Pete Beach Florida. See more »
Everything has a purpose. Everybody has a purpose. It is my purpose to be with Ella. Nothing can change that; not you, not the police, not the courts. It's just a fact. Like... like plants turning to the Sun, or death, or taxes.
What is this gibberish? Are you crazy? Nobody talks like this. Make sense!
People are afraid to say what they feel. Ella is afraid.
I'm not afraid to say what I feel. There's two types of people in this world; assholes and pricks. You're an asshole. And I'm a prick. Do ...
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[prologue] "It is the addition of strangeness to beauty that constitutes the romantic character in art". - Walter Pater. See more »
I won't attempt to summarize the plot, such as it is. Suffice it to say that every single character in this film manages to behave in the least straightforward and believable manner in every situation. The heavy hand of a poor screenwriter is evident throughout, as all the characters seem more manipulated than motivated. The writer/director, Paul Schrader, was an unfamiliar directorial name to me until I watched this mess, and his resume makes it clear why. He's had a few successes as a writer, but pretty much all of them were directed by Martin Scorsese, who is very definitely not on hand to salvage this disaster.
Fiennes and Mol are game for the most part, and do what they can with the laughable dialogue. Ray Liotta, however, is at his over-the-top worst. He can be effective with the right part and some directorial restraint (see *Blow*, for instance) but neither is present here.
Avoid this and find something better to do.
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