A Chinese-American lesbian and her traditionalist mother are reluctant to go public with secret loves that clash against cultural expectations.
- Stars:Jason Dohring, Marina Sirtis, Michael Dorn, Jeff Corbett, Brian Shoop, Dan Wells, Courtney Mahurin, Robert Peters, Gretchen Becker, Becky Love, Kristen Bramble, Tonya Bordeaux, Juli Erickson, James Field, Michelle Krusiec, Joan Chen, Lynn Chen, Jin Wang, Guang Lan Koh, Jessica Hecht, Ato Essandoh, David Shih, Brian Yang, Nathanel Geng, Mao Zhao, Louyong Wong, Clare Sum, Qian Luo, Richard Chang,
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Tony C (ru) wrote: Really effective horror in the found footage genre but grounded in a very british sensibility. All the performances are excellent and the narrative moves in quite unexpected turns. The visual and sound direction especially draws the audience deeply into a very, very dark place...
Eric B (de) wrote: Instant classic..and most likely and tradition!
James H (us) wrote: 60/100. This actually isn't too bad. It's main flaw is the so often used corporate conspiracy plot. Ann Heche gives a controlled and subtle performance. It does have it's share of cliche's but I remained interested throughout. It would have been more convincing without the conspiracy angle though.
Luciano G (nl) wrote: A great little thriller that walks a very thin line. Movies like that can easily fall into the clich (C) category. But the actors really save it from going there.The acting of Evan and the lead woman is great and the creative cinematography and music are also pretty good.... Foreseeable and predictable most of the time? Yes, but still really enjoyable and very good.....
Michael G (jp) wrote: Great movie... Gets to me
Muhammad A (it) wrote: This is perhaps the only Vonnegut book that lends itself well to the medium of film, and the director does a decent job. Nick Nolte deftly brings the protagonist to life, and the dark ironies of politics, power and race are rendered with a light touch.
WS W (mx) wrote: An exploration off mammon phenomenon in Taiwan (as well as the rest off the world) in mid-90s when there was still a proper Taiwan Cinema (industry) then. Hilarious (sorta black humour) but not that outstanding overall.
Jonathan G (it) wrote: Michelle Pfeiffer has some great moments in this tale of a teacher trying to save her students with knowledge. There were definitely a lot of stereotypes going on, but the story is uplifting and the performances were sharp enough. The music is definitely dated- but who can't get excited about hearing "Gangsta's Paradise"!
Seamus M (br) wrote: One of the greatest movies out of the eighties. Not enough people even know it exists. See it, you'll love it!
Van R (jp) wrote: Steve McQueen delivers a memorable performance filled with character and nuance as the real-life Indian tracker, cavalry scout, and range detective in television director William Wiard's biographical western "Tom Horn," co-starring Linda Evans, Richard Farnsworth, Billy Green Bush, Elisha Cook, Geoffrey Lewis, and Slim Pickens. Superb production values, a solid cast, and splendid scenery stand out in McQueen's second-to-last film when he felt the first effects of the inoperable lung cancer that killed him in 1980. Unfortunately, despite these strengths and the quotable dialogue in the Thomas ("Missouri Breaks") McQuane and Bud ("J.W. Coop") Shrake screenplay, "Tom Horn" qualifies as a dreary, pretentious western that falls apart during its last half hour. The problem is simple. This is one of those tedious end-of-the-frontier yarns where hero bites the dust, and McQueen's protagonist tumbles to the status of a pathetic wretch before he hangs. Neither "Tom Horn" nor "The Hunter," his last two starring efforts, captured McQueen at his height in "The Magnificent Seven," "The Great Escape," "The Getaway," and "Bullitt." Clearly, McQueen must have been reevaluating his career because he doesn't play it cool in either "Tom Horn" or "The Hunter." He draws attention to his short statue; he stood five feet nine and a half inches and refers to himself as a little fellow. Similarly, in "The Hunter," he plays a character who encounters trouble after he climbs behind the wheel of a car! This revisionist philosophy on McQueen's part can even be traced back to his decision to star in the Henrik Ibsen play "An Enemy of the People" where he sports a beard, clutches an umbrella,and plays an environmentalist. "Tom Horn" opens with this foreword: "He grew up in the violence of the old West. He became a cowboy, rode shotgun for the stage lines, was an agent for the Pinkertons, and fought with the Rough Riders under Teddy Roosevelt. He made his reputation as a cavalry scout by capturing Geronimo in the bloody Apache wars. In 1901, he drifted into Wyoming Territory." Indeed, aside from their catchy dialogue, McQuane and Shrake's pretentious screenplay confines itself to the twilight years of Horn's career in the great Northwest. McQuane and Shrake based their script on the "Life of Tom Horn, Government Scout and Interpreter, Written by Himself." Sadly, this represents one of those times when sticking to the facts wasn't the best idea. Anyway, "Tom Horn" gets off to a promising start. Our hero rides into a frontier town for a drink in the saloon and tangles with future heavyweight boxing champ 'Gentleman' Jim Corbett. Horn criticizes the dapper pugilist (Steve Oliver of "Angels from Hell") for being a lesser celebrity than Geronimo. Wiard cheats us because he doesn't show the fisticuffs the ensued between Horn and Corbett. Later, cattleman John C. Coble(Oscar winning actor Richard Farnsworth) finds Horn nursing his injuries in a stable and persuades him to recuperate at his ranch. Coble explains the cattlemen's predicament in a deftly photographed scene lensed through the slats of a fence. "Any means that you have to take to eliminate this rustling problem, we're all behind you 100 per cent." Later, at a big Cattlemen's Association picnic at Coble' spread, as the guests dine on lobster, another cattleman summarizes their situation to Horn. "We've got a hell of a range problem here. The damned rustlers have completely wiped out our herd profits. Not to mention what the blizzard and predators have done to our calf problem, people are homesteading our range land and raising sheep on our grass." The bottom line is the Cattlemen's Association wants Horn eradicate the rustlers, but they want no apparent connection between Horn and them. Indeed, Horn takes care of the rustling crisis. He isn't afraid to gun down the rustlers, and he gives no quarter in a gunfight. The scene where Horn interrupts an auction and identifies himself as a 'stock detective' is dramatically satisfying, especially when he backs his horse off the premises, something you rarely see in westerns. The night-time shoot out with the rustlers in the barn is interesting and Horn shows his anger later when he kills Lee Mendenhour (Roy Jenson of "The Ambushers") after Mendenhour shoots his horse. Tom pumps three extra slugs into the dead man. The violence, however, takes a terrible toll on public sentiment,and the cattlemen want to distance themselves from Horn. Somebody then kills an innocent homesteader's son, teenager Jimmy Nolt (Clark Coleman of "Kuffs") and frames Horn for the murder. Later, sneaky U.S. Marshal Joe Belle(Billy Green Bush of "Five Easy Pieces") arranges an interview with Horn while a journalist in an adjacent next room transcribes their conversation. "Tom Horn" loses any sense of momentum about 65 minutes into the action when our hero winds up behind bars. Wiard fractures the narrative structure with flashbacks of Horn and schoolmarm Glendolene Kimmel (Linda Evans of "Avalanche Express") and events occur definitely out of place. McQueen and Evans generate no sparks as a romantic couple, and their romance frizzles. Their best scene occurs when they are standing between their horses and Tom's horse nudges him closer to her. Prosecutor Walter Stoll (Geoffrey Lewis of "High Plains Drifter") uses Tom's altered testimony taken down without his knowledge to convict him. In real-life, Horn was railroaded; the likely culprit was the jealous marshal Belle. "Tom Horn" suffers from severe editing problems and things bogs down after Horn ends up in jail. Nevertheless, "Tom Horn" boasts some funny low-key humor, especially during the lobster scene when Horn proclaims, "Be darned, I never eaten a bug that big before," and a couple of tautly handled gunfights. Meanwhile, McQueen looks cool in his broad-brimmed Stetson, and he handles his rifle as if he's put some rounds through it. Wiard stages several interesting zoom outs when Horn fires at his targets. Altogether, "Tom Horn" boasts a lot of authentic atmosphere and the dramatic irony is effective, but the film is too disillusioning to be entertaining.
Dillon L (es) wrote: an amazing movie full of heart drama and tragedy
Guido S (ca) wrote: They really don't make movies quite like this or Cop and a Half. In a sort of anti-buddy-cop movie, a cop is stuck with someone who isn't fit to be a cop and comes along to screw things up for them. In this case, Stallone and Estelle Getty as his overbearing mother. He's on a case of a gun running ring. This movie is pretty dumb, but in a endearing kind of way. It does about what you expect for a cop movie and a mother-son type film. Also doesn't outstay its welcome, ending about the time when the jokes start to tire. Still a good movie that they don't make anymore and seems to have been forgotten through time.
Tim M (de) wrote: It was okay. It seemed a bit too simple.
John B (au) wrote: It was a very good story line about the San Andreas fault