Detective Galban (Keanu Reeves) finds his partner and close friend, Detective Cullen, murdered in a subway. On the hunt for the killer(s), Galban begins to suspect his partner may have been heavily involved in drug dealing and police corruption. As Galban investigates, people who knew Cullen are conveniently found dead. The closer Galban gets to the truth, both Cullen's wife, Janine (Mira Sorvino), and his lieutenant (Christopher McDonald) try to persuade him to back off, fearing his findings may discredit Cullen and expose corruption within the police department. Galban's only remaining lead is Isabel, a young, devout, Latina girl who resides with her in-laws. Galban fears her life could be in jeopardy should he get too close to her. However, Isabel has recently experienced something not from this world, something mystical that she believes is truly a miracle. Not unlike Galban, Isabel is dealing with her own demons from the past, a past that just may lead them to the truth; in turn,...Written by
The original story was a surreal bi-lingual drama, reminiscent of Pan's Labyrinth (2006) and Irreversible (2002) that focused on child abuse, violence towards women, mass incarceration and police violence committed under the color of authority. However, the movie was sold to Lionsgate Premiere, which thought it had been sold a Keanu Reeves cop thriller. During the editing process, Lionsgate Premiere changed the story's focus to center on Reeves' character, and changed the movie into a generic crime-thriller. Gee Malik Linton wrote and directed the film, but since Lionsgate Premiere and the producers edited the film without his approval, The Directors Guild of America (DGA) allowed him to take his name off the credits. He is still listed as writer, but his directing credit is listed as "Declain Dale". See more »
There's this girl, she knows what happened. What am I going to do, bring her in? She'd be dead in a week.
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The writer/director intended the movie to be a dual language, Spanish/English social drama about violence towards women and child abuse. The producers instead turned the movie into Keanu Reeves cop thriller. An alternate version that follows the director's vision was edited by Roman Polanski's longtime editor, Hervé de Luze See more »
Written by Miguel Eugenio Gonzalez & Pablo E. Gonzalez Yermenos
Performed by M. Eye and International P
Courtesy of The Emerald Tablets See more »
This movie was incredible; incredibly bad.
Never before has someone so cleverly taken two separate stories, and ram them together with the elegance of a head-on car crash.
The overall structure of the film felt like patch-work, moving from one scene to another within a matter of 10-30 seconds. As you absorb each scene, attempting to find some correlation to the previous one, they'll whip it away from you, leaving a bitter taste in your memory that will only grow as scenes pile up. It's like waiting for a surgeon to perform a delicate operation on your loved one, and the local butcher walks through the door with his cleaver. It's painful. I was really hoping there were some subtle or underlying meanings to some of the scenes, but in the end I found myself looking to my wife for comfort and explanation, only to be met with an empty confused stare.
I never did work out what the dog death scene was all about.
It would seem as though key inspiration was drawn from student films and the familiar "patching" of loose ends. If information was missing, throw a 10 second scene to tie it up... no one will notice.
I gave it a chance, hell, I watched the whole thing, and at this point I really wish I'd stuck with my gut instinct in the first 10 minutes to hang up the gloves and just get an extra few hours of sleep.
If you plan to watch this movie, please be prepared for confusion, frustration and disbelief.
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