Clarence is a twenty-five-year-old living a meager but not intolerable life in Detroit: he works in a comic-book store, lives alone, and spends a good many nights at ratty theatres to take in kung-fu flicks. On his birthday night, he meets a pretty blonde named Alabama and are soon positively smitten, declaring their love for each other on the balcony of Clarence’s apartment that night. As it turns out, though, Alabama is a hooker who Clarence’s boss paid to give his socially-reclusive worker a night of pleasure. Clarence goes to see her pimp, Drexl, with the meeting ending with Clarence killing him and making off with a suitcase. The case, which Clarence thought contained Alabama’s clothes actually contains two-million dollars worth of cocaine, and this puts this newly-married duo find themselves in quite the thorny predicament. They decide to trek off to Hollywood to see Clarence’s actor pal Dick who might know some people in the industry interested in high-quality coke for a bargain price. The deal is eventually set up, and their dream of living on a luxury island seems close to being a reality. Little that they know that Drexl’s partners are tracking them and intend to get their merchandise back and eliminate the couple for good measure. —Efilmcritic.com
Tony Scott was a British-born film director and producer. He was the youngest of three brothers, one of whom is fellow film director Ridley Scott. He was born in North Shields, Northumberland, England to parents Jean and Colonel Francis Percy Scott. As a result of his father’s career in the British military, his family moved around a lot. Their mother loved the going to the movies and instilled a love of cinema in her children.
While still a teenager, producer and director Tony Scott made his first foray into film with an appearance in his big brother Ridley Scott’s first short film, Boy and Bicycle. He later attended London’s Royal College of Art, as did his brother, and proceeded to get his feet wet behind the camera, at first by directing TV commercials for his brother’s production company Ridley Scott Associates. He became a leader in the British commercial industry, directing countless ads and building up an impressive resumé over the years. By the early ‘80s, Tony Scott… read more
Scotts romanticism is the perfect counterpoint to Tarantinos juvenile (but honest in a way) pop-excesses. He releases the characters into a world of hope rather than letting them become just another pop-cultural myth as Tarantino had it in mind. Not everyone has to end like Elvis you know.
A classic. Some of the most brutal violence in a Tarantino work, a Scott work or otherwise compliments a romance so sweet it could be cloying in the hands of another director, but Tony keeps it honest. It's also worth noting that some deliciously grimy Detroit photography gives the picture a grounded, gritty feel that has eluded many of Quentin's more glossy recent films. Career-bests for Patricia Arquette and Christian Slater.
An exquisite corpse-style critical project on the films of Tony Scott featuring twenty critics and twenty scene analyses.
One “movement” in our exquisite corpse-style critical project on Tony Scott. Each movement features ten critics and ten scene analyses.