Mary Fiore is San Francisco's most successful supplier of romance and glamor. She knows all the tricks. She knows all the rules. But then she breaks the most important rule of all: she falls in love with the groom.
The love life of Charlotte is reduced to an endless string of disastrous blind dates, until she meets the perfect man, Kevin. Unfortunately, his merciless mother will do anything to destroy their relationship.
An F.B.I. Agent persuades a social worker, who is adept with a new experimental technology, to enter the mind of a comatose serial killer in order to learn where he has hidden his latest kidnap victim.
While pursuing a suspect one night, Chicago Police officer Sharon Pogue nearly becomes the victim of a fatal ambush. A mysterious stranger, Catch intervenes, disarms the assassin and saves Sharon's life. Is it a stroke of luck? A twist of fate? Or just a concerned citizen who happened to pass by at the right time and wasn't afraid to get involved? Maybe, but Sharon and Catch have met once before. As the two fall in love, they discover the truth about each other and are forced to deal with the secrets from their past.Written by
The film's original release had David Gray's Sail Away playing at the end credits, but this has been removed for the DVD release. See more »
When Sharon walks up to the parents' house and meets Kathy, a speed limit sign in the background says "Maximum 40". That would mean 40 kph in a residential area in Canada. In a residential area of Chicago, the sign would read: "Speed Limit 25" for 25 mph. See more »
We have multiple vehicles. Possible DOAs, multiple injuries. In contact major accident. We're gonna need some more ambulances over here.
All units have been deployed. I don't have an ETA.
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"Turning Away" performed by Mary Black (elevator and furniture scene) not listed in movie credits?! See more »
All UK versions were cut to obtain a 15-rating. Warner Brothers had to remove the aggressive use of the word "cunt", or the film would have been rated 18. See more »
A gem of a film, best appreciated after you dust off the dirt
I stumbled on this film--because there was nothing obvious that made it look like a film worth your time. It's a film with a lot of misplaced evaluations. For instance, Jennifer Lopez was nominated for a "Razzie" award but the film shows a very fine effort from the lady. Again some comments on the photography infer the late cinematographer Piotr Sobocinsky has done a shoddy job because obvious Toronto landmarks appear in a film set in Chicago. This again is a fault of the Director and editor, not the cameraman who was one of the finest in his business (Kieslowski's "Dekalog" and "Three Colors--Red"). An intense viewing of the film affords the viewer to appreciate the opening shots, the alley shots, and the corridor shots that evoke feelings. It is quite different from the typical Hollywood camera-work.
There are flaws in the film. The film jumps to situations without a build up--Catch appears on a life saving situation, seemingly out of nowhere; two beers appear on Catch's table in the restaurant, without him ordering the second; no mention is made of why Catch chose this name; etc.
Yet despite those faults the film sails through as fine entertainment because of fine believable performances from Caviezel, Lopez, Sonia Braga, and Shirley Knight. The casting of these four was perfect (thank you Lopez for insisting on Caviezel!). The film is great entertainment because the film refrains from sex and promotes fine values--including family values, reconciliation, dealing with bereavement and doing good to make a better world. How many films are brave enough to deal with such subjects today without depicting sex and violence?
The film touches on subplots that could have been fleshed out--Catch's lonely neighbor who invites him share a pizza, Catch's friend who recognizes him at the restaurant but Director Mandoki clearly steers clear to present the two psychologically wounded persons and their healing by coming together through a sheer accident. The film may be very Christian in character but it presents a very secular, humane scenario that will uplift any viewer. Though unevenly woven, the film has several sequences that show Mandoki has fine capabilities. One only wishes he took greater care of details.
Flaws apart, the film is above average cinema that the publicity has shrouded by misplaced evaluations.
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