artbyjude
Iscritto in data set 2001
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Valutazione di artbyjude
For all those people who believe the dialog is worth something, and who appreciate a farce that is clever enough for you to take it seriously, this movie will surprise you. It is not a 'whodunit' for people who can't aren't able to follow the verbal exchange of our hero, Professor Dexter Cornell (Dennis Quaid).
Cornell teaches in Southern California, near the tar pits. He has not published a novel in four years, his wife is divorcing him, he drinks a bit much, and is blessed or cursed with caustic wit, which he freely dispenses to his students. He has recommended a friend for advancement, and one bright young student has submitted a manuscript to him as an independent project. Cornell doesn't even want to read it, so gives it an "A", and pushes it to the side. Leaning back with a drink in his office he stares out the window, when the bright young student falls past his window on the way to meeting the sidewalk in a splat encounter.
Hal comes to talk, and they chat, drinking some more. The Cornell realizes that he HAS to read the manuscript, now. When he goes home, his wife is waiting with divorce papers. He drinks some more. She leaves, and he goes to a faculty affair, only to find her there. He drinks even more. And when his wife learns that the student is dead, she swoons, and he learns that she had been having an affair with the student. This of course prompts him to do some more serious drinking. The next morning he wakes up to find himself in the dorm room of one of his students, a freshman named Syd (Meg Ryan).
He feels worse than a hangover, goes to the doctor and learns that he has been poisoned, it is irreversible, and he has 24-48 hours to live. He doesn't have much time to find out who killed him, and there are sub-plots, motives, relationships and surprises at every turn, although everything makes sense at the end. All his discoveries and exchanges are adorned with sarcasm, dry wit and keen observations. Let's just say that this movie will give new meaning to the adage "publish or perish".
There are no bad performances in this movie. There are recurrent images, and symbolism used at careful intervals. Watch for the cracked glass, and images distorted through glass. Some of the camera shots are revolutionary for 1988, and some of the violent action is carefully and skillfully choreographed. The music is unobtrusive and appropriate, although occasionally it makes it's own statement, in song lyrics. The visuals in this flick are impressive.
If there are any failures, it is that the opening 20 minutes move a little slow, and nearly puts you to sleep. But the pacing picks up quickly, with just the right amount of exposition in between action segments.
There are no explicit sexual encounters, although there is violence and some bad language.
This is a writer's movie, and is best appreciated by those who have a sense of humor about their own success or failure. I do think if you take it seriously, you're already in big trouble.
Cornell teaches in Southern California, near the tar pits. He has not published a novel in four years, his wife is divorcing him, he drinks a bit much, and is blessed or cursed with caustic wit, which he freely dispenses to his students. He has recommended a friend for advancement, and one bright young student has submitted a manuscript to him as an independent project. Cornell doesn't even want to read it, so gives it an "A", and pushes it to the side. Leaning back with a drink in his office he stares out the window, when the bright young student falls past his window on the way to meeting the sidewalk in a splat encounter.
Hal comes to talk, and they chat, drinking some more. The Cornell realizes that he HAS to read the manuscript, now. When he goes home, his wife is waiting with divorce papers. He drinks some more. She leaves, and he goes to a faculty affair, only to find her there. He drinks even more. And when his wife learns that the student is dead, she swoons, and he learns that she had been having an affair with the student. This of course prompts him to do some more serious drinking. The next morning he wakes up to find himself in the dorm room of one of his students, a freshman named Syd (Meg Ryan).
He feels worse than a hangover, goes to the doctor and learns that he has been poisoned, it is irreversible, and he has 24-48 hours to live. He doesn't have much time to find out who killed him, and there are sub-plots, motives, relationships and surprises at every turn, although everything makes sense at the end. All his discoveries and exchanges are adorned with sarcasm, dry wit and keen observations. Let's just say that this movie will give new meaning to the adage "publish or perish".
There are no bad performances in this movie. There are recurrent images, and symbolism used at careful intervals. Watch for the cracked glass, and images distorted through glass. Some of the camera shots are revolutionary for 1988, and some of the violent action is carefully and skillfully choreographed. The music is unobtrusive and appropriate, although occasionally it makes it's own statement, in song lyrics. The visuals in this flick are impressive.
If there are any failures, it is that the opening 20 minutes move a little slow, and nearly puts you to sleep. But the pacing picks up quickly, with just the right amount of exposition in between action segments.
There are no explicit sexual encounters, although there is violence and some bad language.
This is a writer's movie, and is best appreciated by those who have a sense of humor about their own success or failure. I do think if you take it seriously, you're already in big trouble.
In spite of a relatively possible story, that should at least create apprehension in an average viewer, this one will leave you snoring in your armchair, in minutes. Although the director is no longer among the living to defend his name, this movie would be something better left off his obituary.
This is theoretically billed as a thriller. However, the plot, (I mean the WHOLE plot) is revealed in the first 15 minutes, and it goes no further. The Killer, Albert (John Savage) is released from a mental institution, in spite of the head psychiatrist's (John Saxon) repeated warnings that he will KILL AGAIN.
Needless to say the psycho killer is released and goes from phone book listing down the page looking for his "Annie Smith". He leaves a predictable string of bodies.
This movie is plagued from the start by some of the worst performances ever to grace modern film, with the possible exception of John Savage, who might be believable if all around him were not so lame. They barely mouth their lines, which incidentally, also makes this movie memorable as having possibly the worst working script ever written. Top it off wiith some mediocre camera work, and a hokey sound track and voila, you have the perfect gift for someone you detest. My ex may get this one as a Christmas gift this year.
My advice: Don't bother.
This is theoretically billed as a thriller. However, the plot, (I mean the WHOLE plot) is revealed in the first 15 minutes, and it goes no further. The Killer, Albert (John Savage) is released from a mental institution, in spite of the head psychiatrist's (John Saxon) repeated warnings that he will KILL AGAIN.
Needless to say the psycho killer is released and goes from phone book listing down the page looking for his "Annie Smith". He leaves a predictable string of bodies.
This movie is plagued from the start by some of the worst performances ever to grace modern film, with the possible exception of John Savage, who might be believable if all around him were not so lame. They barely mouth their lines, which incidentally, also makes this movie memorable as having possibly the worst working script ever written. Top it off wiith some mediocre camera work, and a hokey sound track and voila, you have the perfect gift for someone you detest. My ex may get this one as a Christmas gift this year.
My advice: Don't bother.
This movie centers around a Prosecuting attorney and her need to find and jail a psychopathic killer, who has a special thing for young beautiful law students. The good part is the ending. The bad part is just about everything else.
On one side, it shows the court system, and how easy it is for the guilty to escape under the right conditions. On the other, it shows that the prosecuting team have other tricks up their sleeve.
I don't think the ends justify the means, however, and the ultimate message is not a good one. Besides, there is very little action, not the best acting, and an unusually pedantic and dialog going on. There are better examples of this genre almost everywhere. My advice is to skip it.
On one side, it shows the court system, and how easy it is for the guilty to escape under the right conditions. On the other, it shows that the prosecuting team have other tricks up their sleeve.
I don't think the ends justify the means, however, and the ultimate message is not a good one. Besides, there is very little action, not the best acting, and an unusually pedantic and dialog going on. There are better examples of this genre almost everywhere. My advice is to skip it.