Reckless (1995)

PG-13   |    |  Comedy, Drama, Fantasy


Reckless (1995) Poster

On Christmas Eve, a regretful husband admits to his high-spirited wife that he has hired a contract killer to take her out. She immediately flees. A nice couple offers her shelter, but everyone have dark secrets in this wacky movie.

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5.2/10
406

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  • Mia Farrow in Reckless (1995)
  • Reckless (1995)
  • Mary-Louise Parker and Scott Glenn in Reckless (1995)
  • Mary-Louise Parker and Mia Farrow in Reckless (1995)
  • Stephen Dorff in Reckless (1995)
  • Mia Farrow in Reckless (1995)

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User Reviews


10 September 2005 | rdconger
8
| Witty, Moving, Satisfying
I happened to tape this film from TV, and it has become one of my favorites. Whatever failings it may have, and I think it has fewer failings than some might think, it is in its way a tour de force of originality. The combination of gritty downfall with under-the-Christmas-tree fantasy works very well -- and that in itself is an achievement.

Its charms, by and large, are the small things, the incidental scenes that are accomplished in a unique manner, such as a conversation in American sign language between two women who are wearing large, yellow rubber gloves (in the scene they are cleaning a carpet). While I concede that the title seems fairly arbitrary, it certainly does the film no harm, no more than "Magnolia" did any harm to that film, even though "Magnolia" is surely just as arbitrary a title for "Magnolia" as "Reckless" is for "Reckless." In my view, a film that is unique (as well as uniquely quirky), visually witty, and that can arouse and explore entirely new and unexpected emotional territory in the viewer is a film of value. Mia Farrow's and Scott Glenn's performances are excellent.

I would encourage anyone who wants to see something that is entirely different from anything else and that will make an indelible impression, would do well to see this film. And don't worry, the script is just fine; although it is a morality tale, it is not a morality tale with a smug or pat conclusion, as it ends, as it begins, with a weirdly satisfying sort of open-ended grace.

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