"Hey, can you eavesdrop on someone else's life? thank you......" and shadows of a life already lived and suffered and intervened with. Amazing rides across to Az. and self affirmations, "You're looking pretty, you're looking good". Tough alone teen, with bags of front. "Otro dia,otro meurte.."
AWFUL. It's hard to pick out one bit that is the worst, but perhaps the music, soundtrack & editing? +1 stars for the landscapes, but the cultural exploitation for mainstream "entertainment" is embarrassing. WH's acting and the back-story for his characters is so poor I got up and walked around. I bet he has NEVER watched this.
Starts very well with tension & fear then evolves into unbelievable road movie with too many elements: the ‘evil white man vs Native American’ sideline story distracts from the complete epiphany of Dr Reynolds. The limited dialogue of Blue (mainly “mofo” swear words) also doesn’t allow a complete glimpse into his psyche...but almost. The film almost makes it. Harrelson is excellent as is the camera.
Yeah, this was more of a sketch for a film than an actual, finished movie in many ways. Also the different scenarios were cliched as heck at nearly every turn, making it part low-budget flick, part made-for-TV-movie narrative. Stunning landscapes, but otherwise, again, the sort of film only old white guys get away with making, to the boredom/bemusement of most of the rest of us.
Woody Harrelson and Jon Seda star in this decidedly average film from Michael Cimino. Harrelson is an oncologist taken hostage by a dying patient (Seda) who figures that he deserves a break from serving time in the American penal system. It's a kidnapping road trip movie, and we've seen it done many times before, and often a lot better, but Harrelson and Seda do well in the lead roles.
4,5. 35mm. A little less stereotypical secondary characters, as well as the bourgeois couple relationship, and this film would be the masterpiece that it is in most of its length. How many contemporary North-American filmmakers can claim this ability to shoot and edit, this inebriated narration rhythm? A great classic that begins with Walsh or Fuller's kinesthesia and ends with Ford's redemption of "Cheyenne Autumn".
Michael Cimino ends his career the way he started it: with a road movie. But, unlike Thunderbolt and Lightfoot, which turns itself into a heist movie, The Sunchaser evolves into a western, where again one of the protagonists dies, but this time their and our sins are redeemed, with the help of that beautiful landscape. It's sad this man wasn't given the credit he deserved. Truly one of the greatest filmmakers ever.
Beyond the injurious reputation that has dogged Cimino's latter career, I'm increasingly surprised at how happily endurable each "disasterpiece" I've come to see has been, to the extent that I have to wonder by what faulty metre a "disaster" is qualified.