Un par de exterminadores/sicarios matan al dueño de una empresa de alarmas antirrobo y acechan al socio que los contrató, a su mujer y a un empollón inculpado por el asesinato, que cuenta la... Leer todoUn par de exterminadores/sicarios matan al dueño de una empresa de alarmas antirrobo y acechan al socio que los contrató, a su mujer y a un empollón inculpado por el asesinato, que cuenta la historia en flashback desde la silla eléctrica.Un par de exterminadores/sicarios matan al dueño de una empresa de alarmas antirrobo y acechan al socio que los contrató, a su mujer y a un empollón inculpado por el asesinato, que cuenta la historia en flashback desde la silla eléctrica.
- Dirección
- Guión
- Reparto principal
- Cheap Dish
- (as Carrie Hall-Schalter)
Reseñas destacadas
The screenplay was written by two of modern cult cinema's biggest icons; Ethan and Joel Coen. Hot off their success with Blood Simple (which, incidentally, I didn't like much); this was the second film to feature the brothers' as writers. Despite them having the writing credit, this really doesn't feel like a Coen Brothers film; and that is testament to Sam Raimi's direction. Raimi perhaps goes a little bit too over the top at times, and the film does almost feel like a series of slapstick sketches threaded together by a thin plot. We get treated to some of his early directorial skill, with several really well implemented scenes; my favourite being the one where we see one of the rat catchers kicking a door in from both the inside view and on a TV screen showing the security camera. The unknown cast is decent enough, but it's only really Bruce Campbell that stands out, and that's more because of his later performances than because of prowess here. Still, it's always fun to see Bruce in a movie, and that remains true here. On the whole, this is a good film; but I'd only really recommend it to Raimi/Campbell fans, and people that will appreciate that it's more of a prelude to greater things to come than a great cult flick.
This film has Sam Raimi written all over it. His crazy zoom camera shots, the inclusion of Bruce Campbell as "the heel"... and the very over-the-top silliness. The only other time the Coens really tread this path was with "The Hudsucker Proxy" (which is, in all fairness, the better film)... and that, too, had Raimi's involvement.
I suggest this film is worth seeing. While not the Coens' best, not Raimi's best, it's an interesting little film, bizarre, and a good showcase of early work from those involved.
Bruce was supposed to have the lead role, but the movie would have had a very different feel and maybe less enjoyable. His scenes in a supporting role are a blast, but I would actually have liked to see him as the main baddie. That would have added some more oomph and brought in flavor from the more wacky parts of Evil Dead.
The plot is, who cares, they didn't. Watch for the silly violence, some enjoyable cinematography (the hallway of doors scene was like ASMR for the eyeballs), and some solid one-liners.
It did take me a bit to warm up to this film as I went into it not knowing anything about it, but once I accepted that it wasn't going for any one genre, and just being ridiculous wacky fun, I settled in and enjoyed the ride. It is also a pleasure to watch Chuck Norris's TV wife adding some gravitas when Bruce was absent.
The colors and settings are vivid, like a cartoon. And, the characters are just as unpredictable and indestructible as they would be in your typical cartoon: getting hit in the head with a row of bowling balls, only to be just dazed and not dead; falling out of tall building windows, only to get up and continue on with the action of the sequence; falling down a chute and into a box to be sent off to South America, etc.
Probably a good thing, really. I now identify the goofy, cartoonish elements with 'Raising Arizona' and the violence with 'Bottom' or 'Itchy & Scratchy', but I do remember laughing like a drain at this strangely unhinged melodrama.
The rodent-like Brion James and the brutish Paul L.Smith are excellent slapstick hoods, Louise Lasser has a brittle classic glamour and Reed Birney (who I've never seen in anything else) is the wide-eyed, hopelessly romantic loser who would be totally out of his depth in a puddle, let alone the troubles that come to him in this story.
Being a Sam Raimi film, Bruce Campbell is present, in a splendidly oily performance as a total heel. According to one of Bruce's books, making the film was a tough job for various reasons, but the result, while not a classic, is definitely worth your time.
¿Sabías que...?
- CuriosidadesBruce Campbell commented that the film "wasn't released, it escaped".
- PifiasWhile the majority of the exterior shots were filmed in Detroit, towards the beginning of the film, the night time distant shot of the city (in red glow) right before the storm hits, is clearly Chicago, as the Sears Tower is quite prominent in the shot.
- Citas
Renaldo the Heel: I've never seen you here before. I like that in a woman.
- Créditos adicionalesAfter the credits, we see the box (with Mrs. Trend inside) in Uruguay.
- Versiones alternativasThe region 2 DVD version is missing some seconds of Arthur's death scene. Vic no longer warns him of an impending over-pass, and Arthur's speech before he dies is cut completely.
- ConexionesFeatured in Ghost Cars at the Winchester Mystery House (1995)
- Banda sonoraRialto
Written by Joseph LoDuca (as Joe LoDuca)
Selecciones populares
- How long is Crimewave?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- Títulos en diferentes países
- Ola de crímenes, ola de risas
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 3.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 5101 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 3571 US$
- 27 abr 1986
- Recaudación en todo el mundo
- 5101 US$