Frank is a Manhattan medic, working graveyard in a two-man ambulance team. He’s burned out, exhausted, seeing ghosts, especially a young woman he failed to save six months’ before, and no longer able to save people: he brings in the dead. We follow him for three nights, each with a different partner: Larry, who thinks about dinner, Marcus, who looks to Jesus, and Tom, who wallops people when work is slow. Frank befriends the daughter of a heart victim he brings in; she’s Mary, an ex-junkie, angry at her father but now hoping he’ll live. Frank tries to get fired, tries to quit, and keeps coming back, to work and to Mary, in need of his own rebirth. —IMDb
Martin Scorsese was born in New York City and soon developed a passion for cinema and a particular admiration for neo-realist cinema which inspired him and influenced his view or portrayal of his Sicilian heritage. After graduating from NYU Film School in 1966 and making a number of shorts, he shot his first feature-length film Who’s That Knocking at My Door (1968) with fellow student, actor Harvey Keitel, and editor Thelma Schoonmaker both of whom were to become long-term collaborators. Mean Streets followed in 1973 and provided the benchmarks for the ‘Scorsese style’. After Scorsese directed Alice Doesn’t Live Here Anymore, the trio was reunited for the dark journey of Travis Bickle in Taxi Driver. After New York, New York Scorsese released Raging Bull. The acclaimed biography of middleweight fighter Jake LaMotta was followed by exploration of fans as pariah in The King of Comedy, dark-comic dreams in After Hours and pool sharks in The Color of Money. Scorsese outraged some religious… read more
This has to be Scorsese's most bizarre film. It's hard for me to put a value statement on the movie...it's fantastic, yet at the same time, repels me. Nicolas Cage is his wonderful self, Scorsese's directing is spectacular & he teams up with Paul Schrader once again, creating an almost follow-up to Taxi Driver. I just don't get this one. 'Nocturnal nightmare' is a genre that I love, but where did this come from?
You can sense the master behind the camera, but there's a strange flatness clinging to every moment (despite all that adrenaline in the editing and execution). I fear a second viewing would prove a slog.
Please, Lord-uh. Bring back I.B. Bangin', Lord-uh. You have the power, Jesus-uh! You have the might-uh! You have the super light-uh! to spare this worthless man.
The idea behind this film is pretty darn fantastic and original but, Scorsese was the wrong man to bring this film to life. Brining out the dead, in order to be successful, needed to be done, probably… read review