jinsoolimmy

Was really disturbed to read a negative review of this film from someone who apparently does not know the difference between anamorphic widescreen and fisheye lenses. Soderbergh is a slavish cineaste of the first order, of technical virtuosity few could hope to match. I would have to assume all of his decisions as cinematographer and editor (under not so secret pseudonyms) as well as being director were explicitly and intentionally acts of artistic agency. We as a community of movie lovers ought to embrace and celebrate the efforts of these masters while they're still sufficiently motivated to contend with the cumbersome tasks of making art out of commercial spaces.

Anamorphic widescreen has a distorting effect at the peripheral ends. This would be correct for the period and a call back to the films of the era. I can understand how this would be distracting to the uninformed viewer, but just think for a moment about the fact that the auteur knew you would notice. Then, just for a moment, ask yourself why Soderbergh is pointing this out to me?

...especially if you have any appreciation for unintentional comedy. There's a great deal this film has going for it with an impressive cast, top notch production, direction, editing and cinematography. I'm pretty sure I'd be upset if I actually paid money to see it, but if you're cozy in your living room and you don't take things too seriously this film can provide some chuckles and "thriller" entertainment.

Better than the original starring Eddie Griffin! It was almost as funny as well

Yes, like everyone else says, watch the foreign language original. Then watch this version with a wink and a nod. George Sluizer directed the Dutch original in 1988 and then this Hollywood remake in 1992. One imagines he was given a pile of money and a ton of "notes" by the producers. The remake is campy, over-acted and predictable in the way so many Hollywood thrillers are. Check out Jeff Bridges pre-Lebowski affecting a mincing pseudo-euro accent and Nancy Travis continuing to audition for the role and going all out until the last frame. Good unintentional comedy and contrast between European and American sensibilities by Sluizer

Kilmer steals all the scenes he's in with no shame, outclassing everyone else. Dumb, overwrought violence and childish storytelling all over, this is the kind of movie that makes sure you understand who the bad guys are and why they must pay.

Better telling of this story of the old West in John Ford's "My Darling Clementine".

On the surface this movie is a thriller. Kurt Russell is the everyman Jeff Taylor. Kathleen Quinlan plays his wife Amy and she has little screen time. J.T. Walsh, as always, shines in his role as the bad bad man. The story plays out how you anticipate it will and it has a lot of fun along the way. This movie is also an allegory for how poor decision making and losing sight of what's important can jeopardize one's marriage. Consider the fact that in the beginning of the film Jeff and Amy are reflecting on their journey from Massachusetts to San Diego, their financial difficulties, and their regret that they spent so much money on their car, a loaded SUV. Due to Jeff's inattentiveness a series of unfortunate events unfolds. At the critical juncture in the film, when their car breaks down and they are offered a ride, Jeff decides to stay with the car while his wife gets in the truck with the samaritan. The rest of the movie follows Jeff as he fights like hell to save his wife and his marriage. Along the way, he loses the car and all his money but rediscovers what's really important. The moral? Keep your eyes on the road and stick by your wife :)

this movie was just awful. totally predictable with no redeeming qualities whatsoever. the music was even worse, and the acting was atrocious. (and why do all the characters in movies set in France speak with British accents?) watching Dustin Hoffman phone it in is so depressing. there are a lot of shots of women's breasts, which offers little relief from the tedious story. The denouement depicts the serial murdering protagonist bewitching thousands of people with his perfume made of dead girls, transforming them from a murderous mob into a giant undulating group sex orgy. The capper is Alan Rickman trying to dramatically confront the hero/murderer in the foreground, while naked bodies mechanically pump away in the background.

i wish i could have my money and my two-and-a-half hours back. the budget of this movie could have fed a lot of homeless people. hopefully the producers of this bloated blight will hire some comedians to do the commentary track when it is immediately released on DVD.

unfortunately, IMDb does not offer a rating of '0'.