Word: cops
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Dates: during 1990-1999
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...Blonde has his own plans. Dancing and singing to "Stuck in the Middle With You," he announces, "I don't give a fuck about what you know or don't know. I'm gonna torture you anyway." Then, as he pulls out a knife and proceeds to slice the cop's ear off, the camera suddenly shifts away from the action to focus on an empty doorway. For some reason, Tarantino hits the right button with this decision: the sounds of slicing and screaming with no visual accompaniment make the scene even more excruciating than it would have been...
...steals forty thousand dollars from her boss and hits the road. She is understandably possessed by rears of being found out; as she drives, she imagines the reactions of her boss, her sister and her co-worker as they discover that she and the money are gone. A suspicious cop adds to the drama, especially if we know what's in store for her in that shower (as you undoubtedly do): if only she'd turn herself in to this cop, we can't help but think. For a good deal of the movie, most characters think that they...
Left-wing New York City attorney William Kunstler is the inevitable legal champion of some of the most despised suspects--cop killers, assassins, terrorists. So what is the likelihood that he will eventually take on the case of Rashid Baz, the man arrested for last week's Brooklyn Bridge shootings? Time asked some top criminal-defense lawyers to post the odds...
...Iudicrous chase scenes from "The Blues Brothers" are clearly a model for "The Chase" in its entirety. But while the former relied on such quaint thing as acting, good music and good cutting to produce something genuinely pleasurable, "The Chase" makes half-assed attempts to replicate the same gestures--cop cars piling up down a hill and flipping over, cars driving through road blocks. Our culture needs a "send-up" of "The Blue Brothers " about as badly as it needs, well, special press screening of movie like this...
...practical considerations are of no account in movies like this, which never bear the slightest resemblance to any known reality. Ostensibly this one is about Jack (Gary Oldman), a rogue cop with a nice wife (Annabella Sciorra), an eager mistress (Juliette Lewis) and a profitable sideline in helping the Mafia locate apostates who think they've found safety in the witness- protection program. But the Mafia don (a wildly miscast Roy Scheider) has given Jack a sort of promotion: he's entrusted with actually putting the hit on Mona, who, naturally, deploys all her sexual cunning to evade her fate...