Miguel Ferrer plays a screenwriter sent down to a rather rough Mexican city to research themurder his script is based on. He quickly discovers that the crime is not what was given out forpublic consumption, and he begins to rework his script in consequence. He also runs intoLeilani Sarelle. Smitten, he follows her to the beach, but is conked on the head and comes tominus a kidney. Then it seems that the organ thieves want his other one.
Writer/director David Marconi…laces his noir plot with all kinds of postmodern twists, filmreferences, and superheated atmosphere. He also, unfortunately, sends his tale down narrativedead ends, and his final coda can be seen coming a mile away. The penultimate twist, however,is a genuine surprise, and does explain some of the more wild improbabilities. Ferrer is aninteresting choice for a protagonist, and he is just as cantankerous here as in his supporting roles.The rest of the cast is quirky too: Henry Silva is a Mexican detective, and Harvey Fierstein isMiguel’s aggressive producer, and at one point complains about his alimony payments (!).
The sound is 2.0, and goes a long way to make up in volume what it might lack in placement.This means a heck of a lot of surround effects, some appropriate, others not (cigarettes shouldnot be smoked in surround). The music has a big, and appropriately ominous sound. There isno distortion on the dialogue.
This is quite a nicely photographed film, so it’s disappointing to see it in fullscreen. Thecompositions aren’t too badly harmed, however. The colours are strong, though thesupersaturated orange of the day shots, while suggesting heat, are a bit too strong. The image isreasonably sharp, and the blacks are good. The grain is minimal, but not entirely non-existent.
Trailers for Resident Evil: Apocalypse, I Still Know What You Did LastSummer and Secret Window. The menu is basic.
An honorable stab at the noir, even if it isn’t completely satisfying. Fun to see Miguel Ferrercarry a movie, however.
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