Someone in a casting office must have confused Ned Beatty for an actor and director named Warren, who would have seemed right as a lothario who decides to aide a murderer so he can seduce the younger woman he loves. The talented Ned will always be known as the man who taught us how to squeal like a pig, aided Lex Luther in his many schemes and was the loving grandfather on "Roseanne". Here he is a bumbling older man who is obsessed with dancer Mia Sara, perhaps old enough to be her grandfather. Sara has an abusive husband so she is rather fragile, and that makes her vulnerable to the poem loving Beatty. He comes to her aide in the Sierras, so among the California Redwoods, a noir like plot is set up, reminding me of those 1950's starring and directed by Hugo Haas as an older man obsessed with a much younger woman, sometimes coming to their rescue but usually used for his money.
You're going to be singing "Someone Left the Cake out in the Rain" when Beatty is pleasured by Sara in the middle of a storm, after which Sara kills her husband and they dispose of the body. By this time, it's too late for Beatty to return to his wife and it's obvious that she won't be able to claim double indemnity. This is so bad that you can't afford to miss everything that follows it because you know it can't find any sense of reality no matter how the writers try. The supporting characters are equally as foolish, and twists just get more and more bizarre. To think that this actually played in a movie theater rather than premiered on the trashy cable network USA boggles the mind. This is one of those movies that you just have to stick with because you really are stunned that someone could actually write this and get it produced, and that the acting, directing and photography aides this into becoming the most audacious modern film noir ripoff ever made.
You're going to be singing "Someone Left the Cake out in the Rain" when Beatty is pleasured by Sara in the middle of a storm, after which Sara kills her husband and they dispose of the body. By this time, it's too late for Beatty to return to his wife and it's obvious that she won't be able to claim double indemnity. This is so bad that you can't afford to miss everything that follows it because you know it can't find any sense of reality no matter how the writers try. The supporting characters are equally as foolish, and twists just get more and more bizarre. To think that this actually played in a movie theater rather than premiered on the trashy cable network USA boggles the mind. This is one of those movies that you just have to stick with because you really are stunned that someone could actually write this and get it produced, and that the acting, directing and photography aides this into becoming the most audacious modern film noir ripoff ever made.