Madonna es un encanto. Ella tenía que ser la versión de Monroe de la generación de los 80, pero no fue así. Un filme de una alta provocación feminista. Dos protagonistas que son activas dentro de esta trama que se asocia al screwball comedy y al cine policial, por sus giros intempestivos (además de mujeres dominantes) y esa persecución a propósito de una gema robada. Muy de los 80, pero también posee mucho aire indie
This is the totally '80s movie that, unlike that mostly sodden, dull, reactionary John Hughes batch, deserves the loads of affection. Its charm and fleet-footedness grow with each viewing; this is, recognizably and delightfully, the now-vanished NYC of AFTER HOURS, but the danger is less Kafka-ominous than Lewis Carroll-enchanting. Lachman and Seidelman create fascinating, compelling mise-en-scene throughout,
Desperately trying to remember this movie. Have images of a Cindy-Lauperish Madonna hovering in the screen, without speaking. And a young beautiful Susan Arquette. Watched it as a child, and enjoyed it but could not understand such a lose (not linear) story at the time. Oh, I remember, as a child, watching it, I was confused the movie was not about Madonna searching for Susan Arquette. I do like it. Honest 3 stars.
Don't watch this film if you take yourself, or your taste, too seriously. If you're in the right frame of mind, you can enjoy it. Rosanna Arquette is lovely as always. Aidan Quinn, like his debut in Reckless (1984), is great and extremely watchable, and Madonna isn't bad at all - remember, skill isn't necessary if you have presence, and she certainly has that here.