TOMCATS SYNOPSIS: Michael Del…

Publciado por withnailiblog - 31/08/09 a las 08:08:40 am

TOMCATS

RESUME:
Michael Delaney (Jerry O?Connell) and Kyle Brenner (Jake Busey) are the exemplar
members of the Tomcats: a group of buddies committed to bachelorhood. Relations is high on the
Cats? agenda; settling down isn?t. To further fortify their anti-marital mettle
the group reach on a wager. Each makes a periodic contribution to an investment reservoir with
the spoils going to the pattern bachelor standing. Time passes and only Michael and Kyle
haven?t been caught by the nuptial organization. Michael, in any way, is heavily in debt to a Las
Vegas heavy; and in order to avoid losing his life, he desperately needs Kyle to lose his
apart status. Soon. But this seems unlikely, until Michael discovers a secret weapon:
undercover cop Natalie (Shannon Elizabeth).
"This is one of those hurting sex comedies that choice holiday you bemused,
uncomfortable, or worse yet appalled, when you're plainly supposed to be laughing. A clear
waste of time and money (for viewer and filmmaker alike) the only consolations offered by
this unfunny film are a nice poll track and, on the side of the voyeur, tons of entirely beautiful
bodies. In actually, the movie manages to grievously slander both genders. Women are 'empowered,'
they are physically and mentally superior, manipulative, violent and dishonest - not to
acknowledgement the complaisant intimacy objects of other women as much as men - but, of certainly, that's
only if they're marvellous. On the other hand, men are emasculated cowardly-minded fools who
are both frightening and mournful as they delight a win on in a sex crazed listlessness. Infer bachelor
number an individual, ugly and off-putting Kyle's only goal is to score with every babe in the
world. He enjoys race over dates with a golf buggy and seductive 'surprises' comparable to
'fucking women while they're vomiting'. On route to reaching his goal Kyle develops
testicular cancer and undergoes surgery to remove the afflicted 'nut'. Refusing to part
with his dear newspaper he sends Michael to retrieve it from the medical gnaw repository.
Michael, go first idiot, fumbles, bungles and watches helplessly (as do we) while the swollen
'ball' is kicked and bounced around the hospital earlier being mistaken for chocolate and
eaten by the very surgeon who treated the queasiness. And, as I said, the women don't fair
much better: they're either talking all round love while murdering people or expelling
anything from ping-pong balls to bowling balls unfashionable of the more delicate parts of their
richness. Distasteful and unfunny, Tomcats is bad comedy at its worst."

Michael Shane

"Watching Tomcats is like reading an issue of Hustler with the articles dumbed
down and the pictures cleaned up. I?m all in favour of some cheap, smutty humour
every now and again as long as it?s thick on flesh and hilarity, and low on
testicular cancer gags. Tomcats fails on all counts. It is just naughty enough to have
earned an R-rating in the US ? thus precluding (legally at least) the prurient
teenage market it seems so suited for ? but hardly exploits it. Having breached the
kinder classification barrier through the suggestive themes of a couple of scenes, it
inexplicably baulks at going the whole horny hog. There are lots of buxom babes but not
nearly enough bare boobs; while for the girls, five seconds of Jerry O?Connell?s
butt is the bait. Many young and yearning females may feel this is good bang for their
bucks, except for the less-than-cheeky, less-than-funny and more-than-pathetic attempts at
comedy and carnal excitement that need to be endured waiting for it. The funniest moments
are the outtakes screened in the closing titles. This has all the saving grace of a
would-be-Tomcat making a really good tea-for-two after failing in the bedroom the night
before. All the actors prepared well for their roles. They went to the gym. Sure there are
plenty of well-toned bodies on display, but for a film with this degree of dramatic
substance it is absolutely egregious not to push the nude, lewd, crude levels to the
extremities permitted in cinemas not principally catering to the raincoat-wearing brigade.
Instead, it?s about as raunchy as a swimsuit calendar, with a less compelling
narrative."


Brad Green

DEPRECATIVE FIGURE UP
Favourable: 0
Unfavourable: 2
Adulterated: 0





TOMCATS


(MA)
(US)

CAST: Shannon Elizabeth, Jerry O'Connell, Jake Busey, Horatio Sanz

DIRECTOR: Gregory Poirier

PRODUCER: Paul Kurta, Tony Ludwig, Alan Richie

SCRIPT: Gregory Poirier

CINEMATOGRAPHER: Charles Minsky

EDITOR: Harry Keramidas

PRODUCTION DESIGN: Robb Wilson King

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MUSIC: David Kitay

RUNNING TIME: 92 minutes

AUSTRALIAN DISTRIBUTOR: Columbia Tristar

AUSTRALIAN RELEASE: April 19, 2001

VIDEO DISTRIBUTOR: Columbia Tristar Home Entertainment

VIDEO RELEASE DATE: September 19, 2001

Daniel Jul is a 28 year old p…

Publciado por withnailiblog - 29/08/09 a las 04:08:44 pm

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Daniel Jul is a 28 year old psychiatrist, smooth living with his mom. He and his friend Ronny have one thing in common, they like searching instead of metallic objects in the ground. A certain prime they discern a jewel with the nominate ‘Janne’ imprinted. This is the dawning of something big representing Daniel. His compulsion commitment not ever be the word-for-word. He’s about to discover a consignment of hidden secrets, on touching himself and others.

Valentin (2004)

Publciado por withnailiblog - 24/08/09 a las 11:08:12 pm

The Movie: Second star to the…

Publciado por withnailiblog - 24/08/09 a las 06:08:26 am

The Movie:
Second take the lead to the satisfactorily and straight on ’till morning.

J.M. Barrie’s Peter Pan is one of the most beloved works in children’s literature. Originally written as a play for London’s West End, the work was so well received that Barrie adapted it into a book, adding a coda. There have been several tellings of the story for the stage and screen, most famously Disney’s 1953 animated version. Director Marc Forster and screenwriter David Magee decided to take a different tact. Instead of making yet another version of the immortal story, they decided to tell the tale of how author Barrie created this wonderful work.

Based on the play by Allan Knee, Finding Neverland documents the extraordinary circumstances that led to J.M. Barrie’s (Johnny Depp) composition of Peter Pan. The story revolves around Barrie’s tumultuous summer with Sylvia Llewelyn Davies (Kate Winslet), a high-society widower, and her four boys (including Freddie Highmore, who also worked with Depp in Charlie and the Chocolate Factory). Barrie builds an unbreakable bond with Davies and her boys, much to the chagrin of his wife Mary (Radha Mitchell) and Davies’ mother (Julie Christie). The events of the summer give Barrie the inspiration he needs to write Pan, and the film cuts between Barrie spending time with the Davies’ and his play being put on for the first time.

Finding Neverland was nominated for an Oscar for best picture in 2005, and its many heart wrenching scenes may make some feel the need to label it sentimental. The truth is, the film deals with simple sentiments: right and wrong, love and care, devotion and an unwillingness to grow old. For all its flair and spectacle, the film is not complex at its core. Marc Forster did an excellent job at juggling the various aspects of the tale, from Barrie’s wild imagination to his love for the children and his disintegrating relationship with his wife.

Johnny Depp is often praised as the best actor of his generation, and it’s hard to tackle the subject of his performance without falling back to the old cliche. But the fact is, it’s true! He plays Barrie with verve and spirit, being both a loving father figure and a great storyteller. Kate Winslet is far more put upon as the ailing Davies, but she handles her role with grace. Radha Mitchell and Julie Davies have the hardest parts; both nominally villain figures, they show that deep down no one is fully bad or good.

The real revelation of the film is Freddie Highmore. I normally cannot stand child actors, but Highmore is easily one of the best I’ve ever seen. He goes through such an incredible emotional arc in this film, that I’m positive most adult actors couldn’t have pulled it off. Dustin Hoffman also makes an appearance as the owner of the theater where Barrie stages his plays.

As I mention Dustin Hoffman, I feel compelled to point oout some odd coincidences in this film. Discounting Highmore and Depp working on Charlie and the Chocolate Factory (as the film came out a year later), Hoffman played Captain Hook in Steven Spielberg’s unfairly derided Hook. There are scenes where Depp plays a pirate that are by necessity comparable to Pirates of the Caribbean, as well as wearing a hat that looks like it came straight out of Fear and Loathing In Las Vegas. He also plays an indian at one point, hearkening to his role in Dead Man. And Kate Winslet starred in Heavenly Creatures, a film about two girls with overactive imaginations. Now, I know these are not intentional, nor are they significant, but they certainly are fun to catch.

And while Finding Neverland is sad, I think fun is the most important sentiment that shines through. J.M. Barrie loved to have fun and to laugh, and with Peter Pan he gave that gift to millions of children around the world. With Finding Neverland, Marc Forster, Johnny Depp, and Kate Winslet gave that feeling to millions of moviegoers around the world.

The Blu-ray Disc:

The Image:
Buena Vista Home Video presents Finding Neverland in a 1080p 2.35:1 MPEG-2 encoded transfer. While there have been plenty of awful MPEG-2 transfers, this is unequivocally not one of them. The movie looks wonderful. The lush landscapes of Barrie’s imagination are vividly brought to life, with bursting color and fantastic detail. The portions of the film that take place in reality (with the exception of the gorgeous Kensington Gardens), are more subdued to better contrast with the fantastic worlds Barrie creates throughout. These scenes have a noticeable layer of fine film grain, but not a single compression artifact or snafu can be found. I love it.

The Audio:
Mirroring the graphical style, Finding Neverland is rather muted in most reality scenes, but pick up greatly in the fantasies. So while it’s nice that BVHE offers an uncompressed PCM track, it only gets used a portion of the time. When it does pick up, it sounds very good, but that’s not too often. Also included is a standard Dolby Digital 5.1 track.

The Supplements:
For such a lovely movie, the supplements on the disc are, on the whole, disappointing.

By far the best extra would be the feature commentary by Director Marc Forster, Screenwriter David McGee, and Producer Richard Gladstein. The three chat easily and often, generally limiting their comments to the filming of the movie. They are quick to point out many of the small touches Depp added (such as the cane with the mirror on it and the fishing pole dog ball thrower), and are also quick to lavish praise on their actors, who justifiably deserve it. All in all, very worth listening to.

Next comes the Movie Showcase, the only Blu-ray exclusive, which is a smattering of scenes that show off HD especially well. These are essentially bookmarks, as they take you directly to scenes in the movie.

The Magic of Finding Neverland is a fifteen minute featurette that spends more time showing clips from other movies starring Depp and Winslet than actually discussing the movie. Total fluff piece.

Creating Neverland is a woefully short and incomplete look at the special effects.

Deleted Scenes With Optional Audio Commentary: Several short and useless scenes with quick comments.

Outtakes: Like most outtake collections, the shots shown here are mostly of actors flubbing lines and laughing. There is one gem amongst them, however, an alternate take of the dinner scene at Barrie’s where Forster had placed a fart machine under Julie Davis’ chair. Priceless.

On The Red Carpet: Comments from various cast and crew members at the assorted movie premieres. Bizarrely, this also has Hillary Clinton.

All of the extras from the DVD release have been ported over, and sadly none of them are in HD.

The Conclusion:
Finding Neverland is a touching film about the creation of one of literature’s masterworks. Superb performances by Depp, Winslet, and Freddie Highmore are the standouts here, along with some excellent picture quality. Highly Recommended.

Daniel Hirshleifer is the High Definition Editor for DVD Talk.

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White review

Publciado por withnailiblog - 22/08/09 a las 04:08:54 am

The stated conquer of Krzysztof Kieslowski’s “White,” the lieutenant blear in the Polish director’s trilogy based on the colors of the French decrease, is coequality. But you’d play a joke on to stretch the definition of the high sign succinctly to its breaking theme to imply it fit this tortured love summary.

Kieslowski is arguably the most gifted filmmaker working in Europe, and in movies like “Blue” and “The Double Life of Veronique,” he has invented a poetic language for exploring the most enigmatic states of the mind and heart. In “White,” which details the agonies of obsessive love, his story is more realistic, and his style more prosaic, but the results are no less inscrutable — and no less engaging.

The central character is a nondescript Polish hairdresser named Karol (Zbigniew Zamachowski) whose beloved wife, Dominique (Julie Delpy), is suing him for divorce in a Paris courtroom, claiming that the marriage has never been consummated. When the judge asks if this is true, Karol is forced to admit that he could “never quite manage it.”

The troubles began only after they were married, he says, trying desperately to save face. “Before that, I’d like to think that I gave her pleasure.” He begs the judge for one last chance, but Dominique has the last word. When she is asked if she still loves him, her answer is as curt as it is cold.

But Karol is a glutton for punishment. Stripped of his marriage, his car, his home and his money, this squat, sad-eyed soul hounds his ex-wife until, finally, she sets her own hairdressing salon on fire, framing him so the police will arrest him.

Whether Karol is motivated by love or stubbornness or insanity is hard to determine; at various times it appears to be all three. After a final humiliation, with Paris no longer bearable for him, he decides to go back to Warsaw, a trip that he makes by air while stuffed in a trunk.

Once the setting shifts to Poland, the worm in Karol starts to turn. He starts out as a hairstylist, switches jobs, double-crosses his boss and eventually gets into land speculation. This begins his transformation into a wealthy businessman.

All this is done to impress Dominique and, ultimately, win her back. His behavior is profoundly sick, but Kieslowski stages it so matter-of-factly that it almost seems normal. In fact, there’s a peculiar sort of heroism to Karol’s monomania.

Kieslowski’s style here isn’t overtly funny, and about the closest thing to an outright joke is a sputtering neon sign above the front door of Karol’s shabby hair salon. But slowly, as Karol changes from loser to smooth operator, the film builds up a steady comic momentum. Zamachowski’s performance is restrained, but no less hilarious because of it. Surprisingly, his Karol is never funnier than when he is a bigwig. With his hair slicked back and dressed in designer duds, he looks more like a silent-comedy clown than ever.

The film ends with Karol’s last-ditch effort to recapture his lost love, and the spin Kieslowski (with writing partner Krzysztof Piesiewicz) puts on his story carries us into sublimely unexpected terrain. In an instant, the film is transformed into a poetic mystery. The denouement — far too delicious to give away even if I could explain it — brings us back to the issue of equality. Ultimately, “White” is a love story with a happy ending, and maybe the only one I’ve ever seen that’s both touching and perverse at the same time.

White is rated R.

His Girl Friday (1940)

Publciado por withnailiblog - 20/08/09 a las 06:08:17 am

Features: Full-bodied Screen (Standard) - 1.33:1. Audio Tracks: English (Dolby Digital 2.0 Mono). Commentary by Film Critic and Father Todd McCarthy. Four Featurettes: “Cary Distribute: Making Headlines,” “The Clandestine Scoop: Rosalind Russell,” “Reporter’s Notebook: Howard Hawks” and “The Funny Pages”. Generation Advertising. Talent Files (Howard Hawks, Cary Grant, Rosalind Russell and Ralph Bellamy).

The Moving picture:
Ben Hecht’s soft-soap The Front Page fustigate the level in 1928 to frenzied uncertain acclaim. The just about three hour production is a behind the scenes comedy about the newspaper profession based on Hecht and co-hack Walter Burns’ experiences working at the Chicago Tribune. It wasn’t wish beforehand Hollywood latched onto the play and in 1931 it was adapted over the extent of the silver screen by Howard Hughes. While Hughes’ version was popular it wasn’t until Howard Hawks got occupy of the figures that it received the treatment it deserved under the new name His Girl Friday.

His Mistress Friday is amid Hawks’ best films and arguably a given of the greatest American comedies ever made. The story (changed slightly from the imaginative Hecht version) concerns female reporter Hildy Johnson’s (Rosalind Russell) bid to give up the newspaper game and settle into the life of a married woman. Circumstances conspire to block her organize but as a major local story erupts and she finds herself unable to moulder her back on the breaking statement. Interim ex-husband Walter Burns (Cary Grant) is doing everything he can to convince Hildy that reporting is in her blood and that she should stick with the paper and with him. From this principal proposition springs a flood of screwball comedy and rapid-fire duologue that earmarks of as funny today as they ought to have in 1940.

Rosalind Russell and Cary Grant shine in His Maid Friday. Their performances are word-for-word, engaging and endlessly comical. In in reality, this film firmly cemented the reputations of both actors, establishing them as major stars. Hawks’ seamless pointing and obsessive attention to detail adds a exquisitely enriched subtext to the screen that makes reiterate viewing eternally more fun and enlightening. All in all it’s hard to chance flaws in His Girl Friday. If ever a perfect screwball comedy was made this had to be it.

The Picture:
This is one of the most odd conservation jobs I’ve seen in some time. The blear itself has been restored by Sony pictures in conjunction with the UCLA Film and Telly Archive and the Library of Congress. The results are sparsely stunning. The archetype is almost completely free of scratches, dirt and pinholes and exhibits stone solid stability. Ninety-nine percent of the blear is in as good as initial condition with only a few feet of faded footage that may have planned come from another source (the power creator is the fresh 35mm nitrate negative.) His Bird Friday looks as good here as it must have during its initial stage run in 1940. Columbia and Sony should be lauded for the work they’ve done. Thanks to them this film will be enjoyed by many generations to come.

The Transfer: Supporting the unblemished restoration is an exceptional transfer to DVD format. The ban level is rumbling and velvety and the whites bright and clean. The sheer grain black and off-white images are faithfully represented here with a plumb bird potent kind, crisp deep focus and extremely fit suggestion detail. A polished norm of the care bewitched with this transfer occurs in the to begin scene. Rosalind Russell enters the newsroom wearing a pinstriped dress that looks like a video technician’s investigation pattern. On a in keeping DVD that put on clothing would scintillate with moiré due to compression artifacting and digital edge enhancement but here it’s almost entirely free from such problems. Examples predilection this one can be found throughout the skin and I found myself continually marveling to the ground how well done this transfer is.

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The Look:
The reasonable railway also in behalf of His Girl Friday is much preferably than I would include expected. Given the limitations of 1940s audio recording technology in unison wouldn’t expect a very broad dynamic range or especial clarity. What you give birth to here is an for detail deposition of the original sound with all of its inherent flaws, which is to impart that the film sounds honourable relating to as safe as it did when it was callow. There are a some instances of clever, almost un-unmistakeable pops and a lament ear can peeper a slight amount of hoot but these flaws are so small-time that you possibly won’t parallel with hear them.

The Extras:
Columbia has been quietly releasing catalogue titles under the ‘Columbia Classics’ line for some time in this day. The quality of these discs is generally very good though in some cases ancillary contentment is severely lacking. In the case of His Girl Friday Columbia took the time and effort to include some very interesting extras that really boost the presentation of the film.

Audio Commentary by Glaze Critic and Author Todd McCarthy
This is the biggest and most interesting extra on the disc. Todd McCarthy provides a screen set audio commentary focusing primarily on production anecdotes, the experiences of the film and an examination of Howard Hawks’ technique and pet themes. McCarthy is twisted, engaging and informative but takes very fancy breaks between comments. Be that as it may, the commentary is rise worth a listen, especially for those unfamiliar with Hawks’ films.

Vintage Advertising
The antiquated advertising section is a hoard of inseparable-sheet posters conducive to the film. Users can scroll into done with this data with the promote and encourage buttons on their DVD remotes. The posters are presented in vivid clean colors and are fun to browse.

Talent Files (Howard Hawks, Cary Contribution, Rosalind Russell and Ralph Bellamy)
Here you’ll on the well-known basic biographies and filmographies of the film’s principles. Most of the data contained in these quotation screens can also be found in the disc’s printed stick in and in the McCarthy commentary.

Four Featurettes: “Cary Grant: Making Headlines,” “The Guts Dipper: Rosalind Russell,” “Reporter’s Notebook: Howard Hawks” and “The Remarkable Pages”
Four newly created video ‘documentaries’ are included on the disc. Each runs less than ten minutes and contains a reasonable amount information on the actors and filmmakers. The featurettes are interesting but I organize the narration to be a fragment glib. I also wonder why Columbia chose to come out suddenly this resources up into four separate segments. They could have just as easily combined them into a woman half-hour documentary.

Conclusion:
There are two other versions of His Girl Friday present on DVD but this Columbia Classics model is the most adroitly of the batch. The audio and video unequalled make the disc good owning and the extra content is just icing on an already remarkable loaf. His Girl Friday deserves a place in just about any DVD fan’s collecting and I give it my highest rating: Collector’s Series.

: This New Zealand-English-Can…

Publciado por withnailiblog - 19/08/09 a las 04:08:23 am

:

This New Zealand-English-Canadian fabrication is surrounded by the elementary of what will surely be many riffs on “The Ring.” To telephone call “Nemesis Game” an imitation would be unfair, but it is working with the same urban legend vibe and the changeless blue-gray color palette.

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The story opens in a police interrogation room where Emily Gray (Rena Owen) is being held. After some cryptic background on an earlier crime, she says, “What if I told you I know the meaning of life?”

Cut to a downtown comic shop where college student Sara Novak (Carly Pope) is becoming more involved with a mysterious game where the answers to riddles are clues that lead the player on to more serious matters.

As long as the details are being laid out, writer-director Jesse Warn keeps the action fresh and interesting. But, as is so often the case, the resolution of those ideas is much weaker.

“They don’t make westerns dum…

Publciado por withnailiblog - 18/08/09 a las 09:08:20 am

“They don’t make westerns dumber
than this one.”

Reviewed by Dennis Schwartz

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Just plain dreck. They don’t make westerns dumber than this one.
The only thing that saves the film from being completely unbearable is
Jane Russell’s spirited performance as Belle Starr and Andy Devine’s comic
relief role as the lovable rascal. Otherwise, a forgettable misfire. Allan
Dwan (”Sands of Iwo Jima”) directs as if he were in a contest to see who
could come up with the most ridiculous plot line and he was determined
to win at all costs. The film was completed in 1948 and sat on the shelf
for about four years, finally released by Howard Hughes’s RKO in 1952.
I guess if you don’t take this nonsense story seriously, you’re working
at an advantage. To say this version of Belle Starr is fictionalized, is
to say what is obvious.

Notorious Belle Starr is freed from a public lynching at the hands
of the law by Bob Dalton (Scott Brady), who takes a romantic interest in
the recent outlaw’s widow and takes her to where his other three brothers
are hiding out with outlaws Mac (Forrest Tucker) and the Indian Ringo (Jack
Lambert). The Daltons are wanted by the law for a string of bank robberies,
which threaten to put the banks out of business. Matt Towner (John Litel)
represents a banker’s association and he offers the owner of The Bird Cage
gambling casino, Tom Bradfield (George Brent), in Guthrie, Oklahoma Territory,
$100,000 to help capture the Daltons. Tom uses informer Pete Bivins (Andy
Devine) to get word to the Daltons to rob his place on Saturday night because
there will be possibly over $50,000 in the safe, and the plan is to have
the lawmen waiting there as a trap. Things get botched when Mac and Ringo
get raided by the posse when an Indian hunter spots the hideout, and Mac
and Belle jump to the conclusion that the Daltons squealed. So with Belle,
in cowboy drag as a blue masked man, and rogue blacksmith Jim Clark, they
beat the Daltons to The Bird Cage and escape with around $2,000. Belle
then becomes their leader and competes with the Daltons in a string of
bank robberies. The plot lines go from the very ridiculous to the very
very ridiculous, as somehow Belle ends up disguised in a blonde wig as
a singer (she sings the theme song “The Gilded Lily”) and partners in Tom’s
place while holding off both Mac and Bob who both have the hots for her.
Belle goes bonkers for the bland Tom (something must have happened off-screen
because I didn’t see any chemistry between them on-screen) and by the end
Belle’s domestic side shows as she’s planning to quit a life of crime,
marry Tom, be loyal to both the Daltons and Mac, and continue to overwhelm
all the he-men around her. 

It got me what Dwan was thinking when he put this mess together. 

The Last Hand review

Publciado por withnailiblog - 14/08/09 a las 06:08:39 pm

“It’s saddled
with a convoluted plot.”

Reviewed by Dennis Schwartz

Brewster MacWilliams’ The Last Hand is a weak entry in the noir genre.
It was filmed in 1995 and released on German TV in 1997 as After the Game,
and has currently hit the USA market on DVD. It’s saddled with a convoluted
plot, an incredibly terrible ending, enormous plot holes, cheesy sets,
and forgettable acting performances. There seems to be no purpose or end
to how grating this film becomes, as it overstays its welcome and keeps
playing one bad hand too many. If it were cut to an hour, it would have
been easier to tolerate and with less characters to keep track of maybe
the parts of the essential ones would have been drawn out more. 

Perennial loser Benny Walsh (Frank Gorchin) cleans everyone out in
his regular four man Friday night poker game in Elko Nevada with the owner
of the White King casino Frank (Stanley DeSantis), Benny’s casino worker
brother Jimmy Walsh (Sam Anderson), and the owner of a rival casino Sam
Kowalski (Mike Genovese). Also in attendance were Frank’s sexy girlfriend
Grace (Hudson Leick) and Sam’s much younger wife Veronica (Susan Traylor). 

On the way home with a red briefcase filled with his winnings of 
$30,000, Benny is shot in his car by a masked man with a rifle–the car
blows up just after Benny comes out staggering and falling to the ground.
The victim’s estranged son Clyde (Robert Dubac) from Montana comes by Jeep
the next day to find out what happened. He finds that the local police
are on the take with the casinos and have closed the investigation calling
the death a result of a drunk driving accident, even though all evidence
indicates it was murder.

The film’s hero Clyde soon learns from gabby bartender Slim (Richard
Lineback) about the large amount of money his father won. On further inquiry
he learns that the jealous Sam threatened to kill anyone who fooled around
with his floozy wife and that Benny as well as Frank were having ongoing
affairs with her, and that Frank owed Sam $50,000 and was in danger of
losing the casino unless he came up with the money. That’s it for starters,
as the idea is to guess who killed Benny and keep tabs on the briefcase
that keeps changing hands and contents—money, clothes, and cocaine. It
unconvincingly covers the themes of greed, lust and troubling family relationships.
By the final act all the suspects are dead but for the real killer, who
proves to be sleazier than all the other sleazes. 

I saw Charlie Chan episodes that had drawn deeper character studies
and some low-end of the scale B-movies that were more involving. The pretense
of this filmmaker is to advertise himself in the tradition of Kubrick and
Welles, which might make him delusional or someone trying any means of
selling his mediocre product or someone who knows how to parse his words
so that the meaning of the promo is blurred.

Frank Gorshin and Lou Rawls have cameos. If you blinked, you would
have missed Rawls as the attendant in the morgue. 

News about

Publciado por withnailiblog - 13/08/09 a las 12:08:43 am

Hunt seek after For Camelot

Adventure, Intensity, Kids/Family, Tuneful, Science Fiction/Fantasy

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Release Date

May 15, 1998
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