By a strange twist of fate, dutiful Hong Kong policeman Dan saves the life of the leader of a violent gang of armed robbers. When they commit another crime, Dan is determined to put an end to their activities. He works with the leader, whom the gang had betrayed, to engineer a plan to wreak havoc within the gang and let the gangsters kill one another. But it becomes increasingly obvious to Dan and to his colleagues that Dan is suffering from a severe mental disorder, and Dan finds that instead of upholding the law as a righteous police officer, he has now become a fugitive wanted for murder.
Eduardo S (kr) wrote: me gusto mucho! nose porque tuvo tan mala crtica, sinceramente me pareci una muy linda pelcula.
Mikael K (kr) wrote: A comedy that manages to be so daring and filled with energy that it transcends its basic sillines. Very sympathetic.
Tyler S (gb) wrote: A meh film. Pretty messy at times, and pretty confusing to the point it didn't make sense,. I thought Travolta was great in this as a cocky investigator. Nathan West (played by Jackson) is murdered during a routine training exercise. The twist here is a hurricane sweeps in causing much confusion to what actually happened. Its a kind of like much worse Courage Under Fire as you hear view points from each of the people that were there that night...the acting besides Travolta is suspect and it just fails to make much sense.
Tobias L (gb) wrote: This is one of the rare independent gems of the late 90's. Abstract, well thought out, subtle acting and a funny script make this a winner. One of the funniest movies i've seen in a while.
David S (ag) wrote: it's goofy but I like it
TADEUSZ B (us) wrote: nice vampires movie
Andy D (kr) wrote: Having now seen this, it's clearly one of the most underrated movies that Hitchcock made. One of his later films (made in 1973) which also sees him returning to London to film, the film is darkly humorous, hugely suspenseful - as always - and much more overtly sexual than his previous works. It focuses on a man wrongly accused - as is often the case in Hitchcock's films - of murdering women around London, and his search to find the real murderer and reveal him to prove his own innocence. Brilliant, but at times disturbing stuff.
Nora K (au) wrote: I do like this movie even though there are sometimes some weaknesses not that obvious. The film finely moves by cutting between the fugitives and their pursuers, sometimes enforcing clear contrast, occasionally suggesting direct or ironic similarity (for example, the sheriff and the lady doctor engage in mutually humiliating sexual combat; Willie Boy and his girl make love) by means of sound bridges and parallel visual compositions. The Director A.Polonsky uses the wide screen as space to be meaningfully filled, and one is aware of carefully considered effect, in particular in the desert landscape, to a degree quite unusual in movies those days. Polonsky's messages ; tied to the white-Indian conflict, and they are delivered in a script that is not dialog so much as a series of one-line monologues, to which characters may react but almost never effectively respond. With a moral victory or defeat registered every few minutes, the film is sometimes quite in danger of mistaking text for texture. Lucklily, the danger is most of the time avoided. The movie lives most brilliantly on a third level, not unrelated to the action or the allegory, but much deeper, more mysterious, more fully felt. Let's not forget it is mainly a chase movie, concerned with clues and tracks, all signs must be read. And because the film focused on questions of personal identity, all signs are even more relevant. But the nature of the signs changes in the course of the movie, becoming always more intimate, elusive, meaningful, impenetrable. Near the end, these signs include a scarecrow, a hand print, a dead girl's body,a ritual fire?images, in context, of exceptional resonance. The four principal actors are excellent. Robert Redford as Sheriff Cooper "Coop"(pretty as ever and gives a fine performance) and Robert Blake (very convincing as Willie Boy) meet physically only twice during the film, but they form a superb ensemble. Susan Clark as Dr Arnold brings charm and humanity to a schematized and sometimes melodramatic role. Finally, Katherine Ross as Lola, whose character is the least accessible of all, suffers and finally submits without giving in to pathos or easy stylization. In short, a film to be seen with a careful attention.
(it) wrote: Review by Jesse Burleson of VIEWS ON FILMJason Bateman's latest is a 2014 release that runs the gamut on every Woody Allen/Wes Anderson film you could possibly imagine. And as it clocks in at a paltry 86 minutes, The Longest Week still feels like the "longest" piece of romantic propaganda out there. Bateman plays Conrad Valmont. He comes from a rich family and has never worked a day in his life. At 40 years old, he coasts through each moment in a smog of cigarettes, Tom Collins cocktails, and loose women. He's a writer or wannabe writer who has never finished a book. He's also persuasive, crass, somewhat intelligent, but incredibly unlikable all at the same time. When his parents decide on a separation, he temporarily gets cut off from his luxury pad in a swank Manhattan hotel. He then resorts to crashing at an old friend's house (Billy Crudup as Dylan Tate) all the while trying to steal said friend's would be girlfriend (the lovely Olivia Wilde as Beatrice Fairbanks)."Week" is directed by newcomer Peter Glantz (in his seven year career, he's helmed mostly shorts like 2010's The Dinner Party). It has a forced, sort of annoying narration throughout (just think 2006's Little Children) and consists of repetitive, monotonous conversations between the three lead actors. Bateman, Crudup, and Wilde play their artsy fartsy parts looking and flailing around as if they wish they were somewhere else. You don't feel anything for them and you wouldn't want to hang out with their pretentious personas either. Peter G's style as mentioned earlier, borrows heavily from Wes Anderson in terms of panoramic wide angle shots and large title cards. And the fact that he throws in an actor from Woody Allen's acclaimed Annie Hall (an almost unrecognizable Tony Roberts playing Bateman's character's psychiatrist) only reeks of mild desperation.All in all, The Longest Week might be the first ever straight-to-DVD release that feels like a veritable Starbucks moment between its cast members. It's Walt Stillman gone afoul with a hint of a very faint palate thrown in. As for Bateman, I give him credit for trying to steer away from bad, gross out comedies or bland PG-13 comedies. He's trying to branch out and his acting style here is unique with sly, quick line readings and sauciness to boot. But with an impractical script, a role featuring Olivia Wilde that's wishy-washy towards choosing a mate, and dourness that falls short of the similarly themed Igby Goes Down, The Longest Week might as well be called The Longest "Weak". Goodbye.