Avaliações de usuários

Plenty to enjoy here in this escapist movie. Goldblum & Pfeiffer are fun in the main roles. Suspend belief and take the exciting journey that Goldblum has with Pfeiffer. Look out for the running joke with many famous directors in cameo roles. Look out for David Bowie and Carl Perkins in a knife fight (is this a metaphor for traditional rock v glam rock?). Although an escape action drama it has plenty of amusing scenes eg. the hoods eating peanuts and breaking candy with their guns.

And the title track and soundtrack by the worlds best blues guitarist -BB King.

Jeff Goldblum plays a man with a boring job, a cheating wife, and insomnia. One night beautiful Michelle Pfeiffer enters his life on the run from trouble of her own. The two have a wild night ahead of them as they run from irate Iranians. That makes more sense than it sounds, trust me. Lots of cameos from directors such as David Cronenberg, Jonathan Demme, and Don Siegel. Also a fun cameo by David Bowie. Goldblum and Pfeiffer are great. A solid comedy from John Landis; good escapist fun. Great soundtrack including the title song from B.B. King. Also worth checking out for a very rare (but brief) Pfeiffer nude scene.

This is definitely a strange film. It offers a good mixture of action and humor yet it's a tough film to get involved with at times because of the convoluted plot. There were also a few roughed-edged characters I just didn't like, frankly. Each time I was ready to give up on this film, something really interesting would happen, though, to keep me watching.

I realize this film offers a lot of "inside" stuff with a bunch of directors making cameo roles. Perhaps if I knew who all these guys were, it would make it better. Regarding to the main actors, Michelle Pfeiffer plays her normal somewhat-seedy role and Jeff Goldblum's "Ed Okin" does so many stupid things that a person would simply never do in situations, that it gets ludicrous.

All in all, a curiosity piece worth seeing but I am reluctant to recommend it. As the cliché goes, it's probably a film you'll either love or hate. One good thing: John Landis directed it and he has directed a ton of entertaining films

'Into the Night' stands as one of my favourite films of the '80's. In fact it stands as one of my most favourite films ever. Why? To be quite honest, I'm not sure why. It wasn't the best concept or script, the performances are okay -(with the exception of Goldblum who is outstanding)- and even John Landis' direction was at times on cruise control.

But what it did in 1985, was to reflect so much of what was going on. The ruthless drive for efficiency that makes Okin's aerospace company so demanding, the 'me' approach to relationships that results in Ed's wife's adulterous behaviour, the worship of fortune that dominates Diana's life and drives her so relentlessly - until Ed brings her something a little more worthwhile.

It had the right look, the right feel and the right cast to make you smile and go along with the goodtimes and the in-jokes between peers of the movie establishment. Here was a collection of successful players in Hollywood showing just how slick movie-making could be.

The screenings must have had the feel of a home movie with most of the cast sitting in the theatre enjoying their various cameos. Bowie, Cronenberg, Kasden and of course Landis himself, all doing it for their own.

I loved it when I first saw it and I'll be buying the DVD in Sept '03 when it finally appears. Is 'Into the Night' a great film? Probably not, but it makes me feel great everytime I take that ride to LAX in the little white Fiat...You had to be there.

Ed Okin (Jeff Goldblum) struggles with insomnia. His wife cheats and his job is a dead-end. His best friend Herb (Dan Aykroyd) suggests going to Vegas. At LAX, he gets involved with jewel smuggler Diana (Michelle Pfeiffer) on the run from four Iranian gangsters. It's the beginning of two wild nights in the city.

This is most memorable for glimpses of a naked Michelle Pfeiffer. She's the engine behind this movie. It's perfectly believable to have her lead him everywhere. Goldblum has a tired insomniac persona and the movie meanders in a good way. It's a bunch of random adventures that don't always go anywhere or end in laughs. The Iranians can't seem to open doors and that's good for a small chuckle. It's a weird nights-out movie and I don't mind spending the time with these two characters.

A lesser-known John Landis film, shot just after the tragical accident of "Twilight Zone: The Movie", with a presence of a lot of director's cameos, supposedly as a sign of support. The film has a charming main duo in the famous Jeff Goldblum and Michelle Pfeiffer, but also include appearances of Dan Aykroyd, David Bowie or Landis himself. It has a convoluted script and some of the humour is plain odd, but it manages to present something different, a kind of L. A. night comedy thriller, not so distant to "After Hours".

This movie is a lighthearted romp! It is filled with laughs, some brilliant physical humor (who knew John Landis was a comic-action actor?), sudden surprises and a phenomenal cast.

And, as a little teaser to make you rent the theatrical version, Michelle Pfeiffer's only known nude scene! TSK, TSK, where she hid those gems!

Jeff Goldblum gives a deadpan performance that is perfect. It fits this movie, it fits his style, and at times it is just hilarious. Probably his best role ever.

The amazingly diverse cast includes Dan Aykroyd, David Bowie, Jim Henson, Paul Bartel, Carl Perkins, Bruce McGill (as Elvis!), Irene Papas, Vera Miles, Richard Farnsworth, Kathryn Harrold, Jake Steinfeld (Body By Jake) and even Clu Gulager! WOW!

But there's added richness for the film buff. Landis cast no fewer than 15 Hollywood directors in this film, plus himself! You can spot Lawrence Kasdan, Jonathan Demme, Paul Mazurski, Amy Heckerling, David Cronenberg, Roger Vadim, Jonathan Lynn, Jack Arnold, Don Siegel, Andrew Marton, Richard Franklin, Colin Higgins, Jonathan Kaufer and Carl Gottlieb.

Director Daniel Petrie even plays the director of a film-within-the-film, with the assistant director of this film, David Sosna, playing the assistant director of that film. There are cinematographers, writers and make-up artists, too, including Rick Baker, the first make-up artist ever to win an Oscar for his craft.

Too few people know about this sleeper. It's fast paced, funny and beautifully filmed. Rent it. You'll love it.

Ed Okin (Jeff Goldblum) is a middle class man with a boring job, a case of insomnia and, to top it all off, he just found out that his wife is cheating on him.

This film is a good one simply because of the cast. Goldblum is always a joy, even when he has very little to do as in this film. Michelle Pfeiffer has always been great, as well, and this was really her in her prime (between "Scarface" and "Batman Returns"). All the cameos are fun, if completely unnecessary.

Despite this, and even with the great John Landis in charge, there really is not much going on, which makes the movie sort of forgettable. No doubt most people have forgotten and it would not make anyone's "top three" or "top five" Landis films. Would it? Some of it seems to anticipate "The Big Lebowski", but without the quirky humor.

This film for me is without doubt one of the ten most boring I have watched in the last 20 years. I guess its main weakness is the classic stereotyping of all the characters. There are no scenes that come to my memory that are in any way original, this starts in the 'hero's' kitchen and continues predictably through the film. The plot is thin enough to read a book through, and, given the lack of special effects, preposterous in extremis. The major amusement for me is the portrayal of the 'baddies' who fall somewhere between Reservoir Dogs and the Keystone Cops - but without the violence or the humour. I reckon if Mr. Okin has trouble sleeping he should try watching this. I didn't make it to the end ....but I bet I know how it finished.

A man's depression and insomnia drive him "Into the Night" and a lot of trouble in this enjoyable 1985 film. Goldblum is Ed Okin, an LA aerospace engineer whose sleep problems are causing him difficulty on his demanding job. His friend (Dan Ackroyd) suggests that the next time he has insomnia, he head for Las Vegas where no one sleeps. After he sees his wife cheating on him, that's just what he does. Then Diana (Michelle Pfeiffer) jumps into his car and his night turns into a dangerous adventure. Pfeiffer has smuggled perfect emeralds into the country for a promised fee, except that everybody is now after her and willing to kill to get them.

There are some great, quirky moments in this film, and one of my favorites occurs when Ed and Diana walk into the apartment of her brother (Bruce McGill) which is wall to wall Elvis. Then her brother walks in - he's an Elvis impersonator. Priceless. Diana and Ed take his car which has the words THE KING LIVES painted across it. One faction looking for the emeralds come off like the Middle Eastern version of the Stooges, particularly in a beach house scene where, trying to get out of a door, one of them keeps hitting himself in the face with it.

The unique thing is that director John Landis has cast many of his fellow directors: Lawrence Kasdan, Jonathan Demme, Paul Mazurski, Amy Heckerling, David Cronenberg, Roger Vadim, Jonathan Lynn, Jack Arnold, Don Siegel, Andrew Marton, Richard Franklin, Colin Higgins, Jonathan Kaufer and Carl Gottlieb - that's a partial list. They're all good, too.

The always terrific Jeff Goldblum gives us a shell-shocked Ed who seems to take each moment as it comes with what is either calm or numbness - it's unclear which, but it works in the role. Pfeiffer is a young beauty in this - she has a very brief, distant nude scene - and is certainly the type of gal a man would go out of his way to help. She's very appealing. Old-timer Clu Gulager also makes an appearance toward the end, and David Bowie has a menacing role as one of the people after the emeralds. There are some fun shots of Los Angeles like Hollywood Boulevard in front of Frederick's of Hollywood that are a real kick.

"Into the Night" is offbeat and fun with enough violence to make it somewhat edgy. A real find.

John Landis didn't go on to direct any more good movies after this one and now most of them seem to go straight to video. Jeff Goldblum plays a man who can't sleep and his life is very boring. Goldblum is bored at home and can't seem to get interested on his work. Dan Aykroyd plays a friend who suggests he should go to Las Vegas, so later on that night when he can't sleep he gets in his car and goes to the airport. Goldblum can't make up his mind if he should go and before he knows it, Michelle Pfeiffer winds up in his car being chased by some middle east men who want to kill her. Goldblum winds up helping her with some stolen jewels and there a lot of cameos with David Cronenberg playing Goldblum's boss and David Bowie a hit-man also interested in the jewels. It's a good film and a pretty good time waster.

John Landis' casting of major directors in small roles doesn't for one second make this film-fiasco forgivable.A so-called "comedy-thriller", it's long,incoherent and very frustrating to watch.

An excellent little gem of a movie, perfect for vidoe-rental for late night. Landis's direction (and his star turn) are both crisp and well paced. Is Los Angeles a land of secret places and pleasures? Maybe yes, maybe not. Probably depends on who you know or how much money you have. But this little fantasy about a Californian bored with his job and unhappy in his marriage hits the notes as his all night adventure unfolds. Wonderful cameos from a slew of stars. Some excessive violence at times, but put there for a point, the point being the nature of Iran's old idiot-terror police, the Savak. Maybe Landis knows of wherefore he speaks.

As for nudity, almost enough. More would have been better. Vidiot after vidiot has tried to stop action vidcap the too fast shots of naked Michelle. The lovely Kathryn Harold keeps her clothes on but gets a gruesome Hollywood send-off, the single most difficult part of the film to watch. Don't hate this film if you don't get it. This is a dark L.A. story, not a comedy, but I rank it as one of the best late-night movies ever made.

Landis made the film he wanted to make and that's the first test of the director's skill. If you peruse thru the comments list and get past Mr. too-boring-for-him, then take my word and watch this film. It's perfect for a night when your troubles are keeping you up. The film has a lot to say.

I first saw this movie on cable back in the eighties. Some say it is fast paced and others say it's slow and predictable. I say it is right in between. I think a lot of critics of this film have missed the point of this movie. I say forget the actors and the cameos and just watch the movie! This is a movie to rent or watch when you want something deeper than beach bimbos but not so deep as "Godfather". It draws you in and is enjoyable and interesting to watch and unlike a lot of movies, you can watch it again and again. Hence is the reason why I bought it. I think a lot of people can identify with it and understand the motivations within the characters. I like it because you can watch it by yourself and with others and still get something out of it. So many movies try too hard to say something or describe a certain era. To me, this film just is. To me, this film let me know that I was not alone in thinking the same thoughts and feelings I had even as teenager growing and wondering why I couldn't sleep at night and if I was the only one having random thoughts in my head. Some say it's too eighties or what not, but I think it is more a movie of the human condition that still holds true today. It's funny and tragic and all the while, I think speaks to all of us and how we all view ourselves in this society. Granted, it's no Oscar (tm.) movie but it doesn't have to be. To me it's just an all-around good movie that's fun to watch without being too shallow or that's so deep like Gone With The Wind. A fun and good rental movie that you might buy also!

Okay, so this is nothing great, but it is certainly undemanding fun and worth the time it takes to watch it. Sure, it's a little longer than it needed to be, and the plot is a little thicker than it needed to be, but I'm perhaps being picky, for this was never meant to be deep and thought-provoking. Jeff Goldblum is fun as usual, and it was cute to see that so many directors made brief appearances in the film as well. It's no masterpiece, but certainly is an enjoyable way to kill some time.

Aerospace engineer Ed Okin can't get any sleep. He's in a rut, professionally and personally. After discovering his wife in flagrante delicto with another man, Ed drives out to LAX. He has no real plan in mind; maybe he'll go to Vegas. In the airport car park, he comes across Diana, a jewel thief on the run from a gang of vicious Iranian villains. He saves Diana, becoming entangled in a complicated web of malfeasance. Will Ed and Diana make it through the night alive?

Directed by John Landis from a screenplay by Ron Koslow, 'Into the Night' is an offbeat crime comedy, a little like Martin Scorsese's 'After Hours' or Jonathan Demme's 'Something Wild.' Like those two films- which were released after Landis's- it follows an ordinary man thrust into an extraordinary situation. Okin is tired of the dull routine his life has become. After meeting Diana, he rediscovers excitement- and the will to keep on going- through his spontaneous journey into the Los Angeles underworld.

In this way, the theme of escapism is cleverly interwoven into the narrative. Okin's mundane existence is suddenly replaced by a thrilling escapade unfolding under the cover of darkness. This transition, from the banality of his daily routine to the unpredictability of the night, reflects a deep-seated desire to break free from the shackles of conformity. Similarly, the film delves into the search for meaning in life, as Okin embarks on a quest that is as much about self-discovery as it is about survival. The night becomes a metaphor for the unknown, a space where the characters are free to explore their identities away from the prying eyes of society.

If one were to explore the film's thematic content further, one could say Okin's chance encounter with the uninhibited Diana acts as a catalyst for an existential awakening. The film's portrayal of the night as a metaphorical journey from desolation to discovery is compelling, suggesting that, sometimes, one must be lost in the darkness to find the true light of life. This is a resonant theme, as everyone, at some point, yearns for an escape from the monotony of their daily lives. Landis captures this universal longing with a winning blend of humour and suspense, making proceedings all the more engaging.

Moreover, Koslow's dialogue sparkles with clever banter and funny lines, while his characterization- with particular regard to the supporting roles- adds another layer of humour, with each character bringing their own quirks and idiosyncrasies to the table. From the bumbling hitmen to the eccentric Hollywood figures Okin and Diana encounter, the film revels in the absurdity of each situation and character. The juxtaposition of comic and dark elements is a hallmark of Landis's direction, creating a film defying easy categorization; remaining memorable long after the credits roll.

However, it is not without its issues. The narrative feels meandering, with a tendency to wander as aimlessly as its protagonist through the sprawling Los Angeles nightscape. This occasionally results in a loss of momentum, leaving the audience yearning for a tighter storyline. Additionally, a plethora of side characters are introduced who, while colourful, sometimes distract from the central plot and lack depth and development. While this ensemble adds to the film's depiction of Los Angeles life, it also dilutes the impact of Okin and Diana's journey.

Having said that, Robert Paynter's cinematography perfectly captures the dichotomy of Los Angeles' glossy veneer and its shadowy underbelly. He brings a kinetic energy to the night-time escapades, with neon lights and the city's luminescence painting a backdrop that feels both dreamlike and gritty. The use of shadows and light not only adds to the film's noir aesthetic but also symbolizes the characters' journey from ignorance to enlightenment.

Furthermore, the soundtrack- featuring the likes of B. B. King, The Four Tops and Marvin Gaye- complements the film astutely. The bluesy tunes underscore the film's themes of loneliness and the search for connection, while the more upbeat tracks accompany the film's action sequences, adding a layer of excitement to proceedings. Moreover, Ira Newborn's original score acts as an emotional guide for the audience, subtly influencing our perception of the characters' experiences and the stakes of their adventure.

The film stars Jeff Goldblum as Okin, alongside Michelle Pfeiffer as Diana. Portrayed with a weary charm by Goldblum, Okin is the quintessential everyman, lost in the ennui of modern life. His character's evolution from a passive observer to an active participant in his own story is relatable; and Goldblum pulls it off with ease. Pfeiffer's pitch perfect performance as Diana is the ideal foil to Okin's inertia. With her quick wit and captivating allure, she embodies the excitement and danger that he craves. Their dynamic is the driving force of the film, as each character finds in the other something they didn't realize they were missing.

The chemistry between Goldblum and Pfeiffer seems genuine, providing a grounding human element to the film's wilder comedic escapades. As they navigate the night's challenges, their interactions offer moments of connection, underscoring the film's exploration of loneliness and the human need for companionship. Additionally, the numerous supporting characters are each and all realized brilliantly. Paul Mazursky's performance as a sleazy director and Kathryn Harrold's as an actress friend of Diana's are the stand outs, as well as Richard Farnsworth's as a millionaire and David Bowie's as a mysterious hitman who- as in David Lynch's 'Twin Peaks: Fire Walk with Me'- is given too little screen time.

Despite its meandering narrative and a surplus of side characters, John Landis's 'Into the Night' is compelling, unpredictable and comedic. Its exploration of themes such as escapism and the search for meaning- paired with standout performances by Jeff Goldblum and Michelle Pfeiffer- make it an engaging, entertaining watch. Boasting fine cinematography from Robert Paynter, as well as a stirring score, it works on nearly every level, and surely is a night to remember.

Being a native of Iran I enjoyed it quite a bit and it was close to my heart. John Landis did a good job as usual, and gave a good performance as one of the bad guys as well. Michelle Pfeiffer was very good looking. I bought a second video and sent it to my son in the US midwest.

This is probably only an idea of my disgust for the so- typically- 80s- feel of this movie. I've already written this somewhere in a forum. Today I discovered it per chance and thought it would make a pretty cool mean-spirited review. Here we go!

It's not UN-bearable, but it's so very un-funny, pathetic and self-indulgent. It really embodies everything that ever annoyed me about eighties movie making. It's like a manifestation of a sickness that has haunted movies like "Something Wild" and yes, also a lot of quite acceptable movies in the 80s. And, if this sickness has really existed in (and dominated) society back then, I'm glad I'm too young (19) to know.

Of course this review will tell you nothing except to avoid the movie. On my old scale I used to employ here, it has been a 4 out of 10. I'm revising my scale though because it doesn't feel accurate to me anymore. If a ***** is to be read as "mediocre", "Into the Night" has to be a ***!

Somehow everything clicked in this film for me, and I just love it. I've mainly seen it quite a few times on TV, but also have rented it and prefer the uncensored version. (After all, Michelle Pfeiffer nude scenes are pretty rare!) I've read that this was a vehicle for numerous friends of the producers to appear in quick "cameos" (a la Hitchcock, not playing themselves and mostly just background), and I'm still trying to find where Steven Spielberg appears. But overall, it is just the perfect blend of mystery, adventure, comedy & tragedy, and satisfying ending, and all are right on. OK, it's no major classic, just some lightweight fun, but after almost 20 years (I'm writing this in 2004) I recall few other films that for me match this one for "Oh, that was a cool flick; I think I'll watch it again." If you missed this I highly recommend it, without reservation.