Single mom Anne Carlisle is unaware that her two year old son witnessed a mob hit, and that her new boyfriend Brad Rijin is only with her on mob orders to kill the kid for witnessing what Rijin did. She's also dealing with her ex-husband who has tried to kidnap the kid, so it's easy to see why as a mom she's a bit scatterbrained sometimes. Maybe her choice in female friends (vile man hating feminist Ann Magnuson wants to bathe in male tears) is also an issue. But she's definitely in a bad situation, and even worse big 80's hair.
This Larry Cohen neo noir has a lot of things going for it, including some great vintage New York City location shots. Yes, a ton of movies use Manhattan for its gritty streets, but when it's used right, the city becomes a character, and the camera gets to go to some terrific areas that don't often get visits from film crews. These colorful lower Manhattan areas with the neighborhood feel are even more iconic than the touristy areas for the artistic vibe and personality that this film beautifully expresses.
As a film, this has moments that seem rather amateur, and there are some genuinely stupid lines that you'd never hear anyone actually say, particularly a savy New Yorker. Forgiving that, this has a great idea, sensational elements along the way, and not using known actors gives it a realistic feel that mainstream films can't always achieve successfully. The kid's cute, and when he meets Rijin realistically acts upset but unable to verbalize it. That moment is ingenious and drives every scene that Rijin and the kid share.
This Larry Cohen neo noir has a lot of things going for it, including some great vintage New York City location shots. Yes, a ton of movies use Manhattan for its gritty streets, but when it's used right, the city becomes a character, and the camera gets to go to some terrific areas that don't often get visits from film crews. These colorful lower Manhattan areas with the neighborhood feel are even more iconic than the touristy areas for the artistic vibe and personality that this film beautifully expresses.
As a film, this has moments that seem rather amateur, and there are some genuinely stupid lines that you'd never hear anyone actually say, particularly a savy New Yorker. Forgiving that, this has a great idea, sensational elements along the way, and not using known actors gives it a realistic feel that mainstream films can't always achieve successfully. The kid's cute, and when he meets Rijin realistically acts upset but unable to verbalize it. That moment is ingenious and drives every scene that Rijin and the kid share.