Story Stripper - Schmutzige Zeilen

This is not quite the thriller it appears to be in plot summary. While there is some violence and more sex and romance, this is more about Timothy Hutton's ethical choices as a writer. As such, it has some very good moments and fine acting by Hutton, Burke and Pantoliano. The pace is rather slow at first and you may find the ending disappointing, especially if you're looking for shocking revelations. But it's worth seeing.

THE LAST WORD is by accounts a terrible movie. It has a score of 4,8 and only 7 reviews with the most recent for it (July 2007) that gives it a 1 and two that give it 10s so it's certainly suspicious. Last June I finally saw it and you certainly don't have to think like the crowd... I found it good.

Martin Ryan (Timothy Hutton) is a writer and journalist that in the beginning is seen signing his new book in a nightclub when his friend Doc (Joe Pantoliano) is seeking his help because two mob hitmen want to break Doc's legs for no specific reason. Ryan falls for stripper Kiki Taylor (Cybill Shepherd) unknown of the fact that Kiki has mob connections just when he has to write a new book about the subject. As Ryan writes he uncovers various truths and Doc makes him meet Stan (Tony Goldwyn), an influent movie producer that can make his book in a movie. After the book is written the movie is made and Martin will become richer and finally with the woman of his dreams.

The acting was good, not surprising with Hutton, Pantoliano, Goldwyn and Richard Dreyfuss in a five minute cameo. The concept fresh for 1995 and the atmosphere just like the one you find in at least 100 other movies of the genre. Not to be missed if you stumble upon it, and I think that OllieSuave-007 is talking of a completely different movie, so he shouldn't be trusted.

First of all, I love kinda movies like this one and I consider myself lucky of having watched it last weekend in my former girlfriend's flat because she has always been a b-movies freak and so."The last word" is for me a deep story about cranks, a worn femme-fatale and the dummies of Hollywood.The resentful and witty character of Doc, a close friend of the main character that Timothy Hutton hides more than shows, stands out in a so powerful way that at the end, you realize that you was taken in about him.The girl is beautiful and confused -Michelle Burke acts sensitive and finally splendid compounding her Sara/Caprice character.Althought Hutton triumphs in his mission revealing the ambiguous talented guy, corrupted gleefully by Hollywood, Joe Pantoliano -incredible actor- offers a new dimension sticking behind Hutton every time he appears in scene, stealing the whole film. He is the ultimate anti-hero and villain, slave of his own contradictions, master in dupe business, putting up with his proper suffering, rejected by the woman of his partner(probably Sara is also the woman of his dreams)in this game of personality mirrors which deserves a warm and cautious approaching as well as passionate comprehension.

It´s a fantastic vision of Hollywood's backstage,painful elationships,violence,and different points of view from the three main characters: Timothy Hutton, Michelle Burke and the great dark character that Joe Pantoliano develops here. A mad function that celebrates confusion of life and cinema, not even a bit of fun in the middle of the way.

This movie is sold to you as a gangster flick. Don't believe it!

You are also told to expect Richard Dreyfuss and Chazz Palminteri. Well, they give you one scene each!

There is the merest glimmer of a good film hidden deep in the recesses of "The Last Word" (mis-sold in the UK under the title "Cosa Nostra" - believe me, there is no Mafia action).

A writer is torn. His friend/agent and his movie studio want him to use the most powerful true stories from his newspaper column. If he does not then the film might not get made. His friend may lose his kneecaps (or more) due to financial problems, and the writer may never make it.

The dilemma is that the stories were told to him by his girlfriend. It was not in confidence at the time, but now she does not want him to write about her. And if she cannot trust him not to do so, then she cannot tell him the rest of her secrets.

In a good movie, the set up I have described could have been accomplished in 30 or 40 minutes, leaving an hour or so for the writer to make his agonising choice.

In this very poor movie, the set up takes 80 minutes, and the agonising choice about 45 seconds.