Afouotos
Although it has its amusing moments, in eneral the plot does not convince.
Dynamixor
The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.
Donal Fagan
I thought the performances were very good, but not good enough to overcome some gaping plot holes in this film.First, why is Roy shadowing his son after all these years? We are told that he just needs Arlis to attend to his birdshot wounds. But he had been standing outside Arlis' motel room the night before. Why didn't he have Ginnie knock on the door instead of leaving a cigar butt, and waiting a good long while before getting the treatment he no doubt needed? It seemed to me that by the time he finally got around to getting Arlis into that car, his wounds would have healed over.Second, why did Arlis get into a car with a broad that he already knew was a con artist? Third, as has been noted, why would Roy care that Kay was still alive? Everyone had forgotten the murders - she knew nothing, and could prove nothing.Fourth, why did Roy have Ginnie lure Arlis to the house where he planned to kill Kay? It would have made sense if he planned to kill both of them, but he didn't need Arlis there to kill Kay. Caan would have had to play Roy as a psycho that wanted to kill Kay in front of Arlis rather than just a sociopath who wanted to tie up loose ends.
mike_elston
If this film had been made in black-and-white in the 1940s, it would surely by now be regarded as a classic. But shot in sweeping colour, set against panoramas of the Texas outback, to a backdrop alternating between isolated bars and run-down motels, sunny plains and dark rainstorms, this must be one of the best modern films noir I've seen in a long time.The four main characters -- played brilliantly and understatedly by Quaid, Ryan, Caan and Paltrow -- are bound together as events unfold and their layers are gradually peeled back for us: aspects of the darker side of human nature that raise questions about blood ties ("flesh and bone") and feelings, guilt and conscience (or the lack of it), and responsibility.I'm surprised I haven't come across this film before, and delighted to have have it now in my collection. An unsung gem, tersely written and thoughtfully directed by Steve Kloves, and brilliantly visualised by cinematographer Philippe Rousselot and editor Mia Goldman. There are no excesses, great little touches and observations, hidden depths, and a lean story. Definitely one to see again.
alicia brite
This film reminded me of a combination of the work of two other people in film-making history:the haunting beauty of Terance Malick's DAYS OF HEAVEN with the sweeping cinematography and tense pacing, and that of HITCHCOCK's thrillers. The feeling of something similar to a pit- in-your-stomach something-bad's-gotta-happen keeps you glued to each scene because every shot, every glance unfolds like a great novel...uncertainty at each turn.The chemistry with the actors is visceral as well as the painful portrayal of someone so shut down, so emotionally guarded as Quaid plays it, is heartbreaking to watch. Highly recommend you go back and rent this one if you enjoy psychological thrillers. It also gave me a renewed respect for Ryan's capabilities as an actor.
gtbarker
I came across this film as many others have, by chance and loved it. It is an intelligent and absorbing story with excellent performances from all involved. The locations are great too and are all beautifully shot. Now for the lesson - if you want to see great films stay away from the big studio productions with huge distribution budgets to settle and ignore the hype. The big Hollywood production houses have forgotten the art great movie making. I'm afraid the only thing they know how to do now is how to sell them, instead of how to make them. Make no mistake this was a great film and suffered because no one sold it and so was largely ignored.
