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 »
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 »
The intrigue of this movie is"no one will ever love you like this". Fair enough. It's a romance in the classic tradition of love once and forever.
But the romantic rendezvous quickly takes a quirky and complex twist. A twist of fate that is not fully realized or retorted in any satisfying solution. The 14 year development and "downward up-fall" of the two main male characters is woefully thin and without clarity.
There is enough sordid side play and noirish edge to maintain viewer interest but ultimately an unsatisfying and ugly ending lets us down in an odd denouement of devilish melodrama.
The some of the parts do not add up to anything substantial enough to sustain what could have been an exceptional picture puzzle. But the pieces do not fit snuggly together and we are left with a rough, uneven surface to what might have been the Writer/Director's exceptional ode to an era of movie magic he loves. But he unfortunately can not, without compromise, return, and so he is stuck in his own postmodern paradox.
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