Greatly enjoyed this low budget film starring Anne Carlisle, (Sally) and Brad Rifin, (Johnny) and a little boy who becomes the real star of the show. This picture opens up with two men going down an alley in New York City and one of them gets knifed to death along with his throat cut from left to right. This is a mob rub out, however, there is an eye witness and the killer sees him face to face. The killer tells his mob bosses about the witness to his crime and that he will search the streets around the area of the killing. Brad Rijin, (Johnny) plays a mobster who meets up with a young gal named Sally, (Anne Carlisle) and the two of them pretty soon start making love, however, Johnny is only using Sally in order to gain her confidence and at the same time kill the witness to his crime. Entertaining film with great scenes of the Brooklyn Bridge and the Twin Towers in the background, rather sad. Enjoy.
13 Reviews
Baby's Day Out 1984
Quinoa19843 January 2021
Apparently, this and Special Effects were shot back to back in 1983/84 as part of a package low-budget deal with Hemdale Films, and Cohen looked at Blind Alley as the "less complicated" one of the two (and hey, what says in-complicated like trying to direct a baby, right? By his account the baby Matthew did what he was told for the most part with help from his parents, and to Cohen's credit he's a great Baby Actor if that's a term I can throw, oh hey it's my review so I just did). The general impression on the whole from this one - which I like just slightly more than Special Effects) - is that it feels like Cohen in both the script and execution is making this like a Poverty Row director might in the 1940s, only updated for gratuitous nudity and occasionallu more brutal violence.
This is both to the benefit and detriment in the final product. I get that the film is about this baby who sees a killing, and even matches eyes with Johnny the killer (the actor Brad Rijn carries a certain intensity that works overall, a highlight being when he explains in his way of "comparative analysis" to Matthew via magazine how his predicament is not unlike... Elliot in ET, and it makes me smile to think of Larry Cohen watching ET like everyone else in the world, but I digress), and that Johnny is so pathological about pleasing his underworld boss that he'll stop at nothing to make sure the baby doesn't uh squeal or rattle or what have you, but... He's a baby. Cute one, but still not quite exactly able to pick a guy out of a line-up.
And the extent to which he ends up going to to shut a tyke up who can't even form words past Mom and No is kind of ridiculous. Moreover, Johnny is a pretty stupid and (connected with the Cohen ouvrere) violent and crazy, but by a certain point it's also the mom's fault for not seeing his other motives (Anne Carlisle, who actually does quite well with what she's given, most of all that intense real-crowd filmed set piece in the Soho streets with mom's baby daddy).
On the other hand, I like that only a story with such a nutty premise and execution, including a cast of supporting women friends of the Mom who make this a semi-sorta commentary on Feminist action against scumbag men (which in Cohen's world is almost a redundant statement) could come from such a mind and cinematic personality as his. It doesn't all work and sometimes drags, like with a police detective working the murder case who gets saddled with some clunky lines that only leads to a predictable (if dark) point, but Cohen, when he and his DP aren't using that high contrast or glaze or whatever it is on the lens to make exterior day scenes too bright, has some captivating compositions, like that other murder in the building set in silhouette against the downtown Manhattan skyline, or that wild shot where we see the kidnapping as the baby is on the carousel attached to a truck(!)
And how this ends ultimately is satisfying, even if it takes some time to get there. It's probably minor Cohen, but if you're like me and working your way through his body of work, it has its moments and eccentric and funny and hard-edged dialog to get you through.
This is both to the benefit and detriment in the final product. I get that the film is about this baby who sees a killing, and even matches eyes with Johnny the killer (the actor Brad Rijn carries a certain intensity that works overall, a highlight being when he explains in his way of "comparative analysis" to Matthew via magazine how his predicament is not unlike... Elliot in ET, and it makes me smile to think of Larry Cohen watching ET like everyone else in the world, but I digress), and that Johnny is so pathological about pleasing his underworld boss that he'll stop at nothing to make sure the baby doesn't uh squeal or rattle or what have you, but... He's a baby. Cute one, but still not quite exactly able to pick a guy out of a line-up.
And the extent to which he ends up going to to shut a tyke up who can't even form words past Mom and No is kind of ridiculous. Moreover, Johnny is a pretty stupid and (connected with the Cohen ouvrere) violent and crazy, but by a certain point it's also the mom's fault for not seeing his other motives (Anne Carlisle, who actually does quite well with what she's given, most of all that intense real-crowd filmed set piece in the Soho streets with mom's baby daddy).
On the other hand, I like that only a story with such a nutty premise and execution, including a cast of supporting women friends of the Mom who make this a semi-sorta commentary on Feminist action against scumbag men (which in Cohen's world is almost a redundant statement) could come from such a mind and cinematic personality as his. It doesn't all work and sometimes drags, like with a police detective working the murder case who gets saddled with some clunky lines that only leads to a predictable (if dark) point, but Cohen, when he and his DP aren't using that high contrast or glaze or whatever it is on the lens to make exterior day scenes too bright, has some captivating compositions, like that other murder in the building set in silhouette against the downtown Manhattan skyline, or that wild shot where we see the kidnapping as the baby is on the carousel attached to a truck(!)
And how this ends ultimately is satisfying, even if it takes some time to get there. It's probably minor Cohen, but if you're like me and working your way through his body of work, it has its moments and eccentric and funny and hard-edged dialog to get you through.
One of the odder Larry Cohen thrillers
udar556 August 2022
One thing I always loved about Cohen's scripts is he could always find the smallest hook and exploit the concept to its fullest potential. This is a great example of that with an emphasis on small. Mafia hitman Johnny (Brad Rijn) offs a drug connection in a back alley, but notices a 2-year-old boy saw him. The mob doesn't sit well with this - the "no women, no kids" rule apparently on hold that day - and wants the kid offed before he...baby talks? So Johnny goes about befriending the boy's single mother, Sally (Anne Carlisle), in order to get close to him. Because, you know, saying, "Jesus, guys, the kid is only two and I'm pretty sure he won't identify me in a line up" won't work. It is to Cohen's credit that he can make such a reeeeee-diculous premise last for 90 minutes, but this is not one of King Cohen's best, for sure. There are some admirable parts though. He captures New York City really well and there are some amusing smaller roles (Otto von Wernherr is hilarious as a private eye vit a zick German accent). Cohen also shows some balls as he steals footage during a major feminist rally one NYC night and also has a confrontation between Sally and her ex that clearly no one on the busy streets knew was filming as a crowd gawks at them arguing (look for Cohen cameos in both scenes). In the end, however, it is hard to take the scenario seriously, especially when mafioso types are talking about how to silence a 2-year-old.
Flat thriller
Wizard-820 May 2015
New York filmmaker Larry Cohen has certainly made some memorable movies in his career, but "Perfect Strangers" has to be considered a considerable lesser effort by him. It gets off to a promising start, setting up the situation and characters in just a few minutes. Elsewhere in the movie, there are some moments of interesting direction that give the movie an almost documentary-like feeling. However, the majority of the movie is a letdown. After the intriguing beginning, the movie abruptly slows down to a snail-like pace where little to nothing of significance is happening. The relationship between the Brad Rijn and Anne Carlisle is also weak, with too little time showing the growing relationship between the two. (It also doesn't help that each character is each off-screen for a significant amount of time.) The low budget also sinks the movie, with poor cinematography and threadbare production values, including a very dated and cheesy musical score. I got the sense that Cohen's heart really wasn't in this project, despite being the writer as well as director. Skip it.
A Pretty, but Soulless and Boring Neo-Noir
Garoux17 December 2021
Warning: Spoilers
Larry Cohen IS a skilled director, having brought cult classics like The Stuff and God Told Me To. I have no idea what happened to that passion in 1984's Perfect Strangers, but the entire movie feels like it's on the verge of a flatline.
Despite having a good cast and great cinematography, all players seem to sleepwalk their way through deadpan deliveries and tedious dialogue. Anne Carlisle, who sizzled in Liquid Sky, seems utterly detached here as the lead. Many exchanges feel like early rehearsals, with several actors blandly speaking through their lines.
Then there's the plot, which is just too silly to suspend disbelief. Our lead's 3-year-old boy is seen witnessing a murder by a hitman. At the concern of his bosses, he's forced to befriend his mother and told to kill him. I'm pretty sure no court would really entertain a toddler's accusations.
The details of how these people come to know and interact with each other is even more absurd. The hit man brazenly follows this woman around for days. Even though she's noticed this, she's flattered by it and immediately tries to get a date. Shortly afterwards, he's handling her kid and sleeping at her house. Pretty bold for a single mom in New York City.
Very few scenes actually progress the plot in a meaningful way, or even build character relationships. The aforementioned dispassion only makes it worse. What should be climatic situations feel underwhelming, poorly acted, and just plain cheesy. Add in the dated (even for its time) made-for-TV style soundtrack, and it's just a real challenge to get through.
That's not to say there isn't anything redeeming about Perfect Strangers. Larry Cohen is good visual director, and seeing classic, gritty NYC is a real treat. We also get an almost documentary-like glimpse into feminist fringe groups of the day, which is not something I've seen a lot of in 80s movies. Despite all the potential this film could have had with the talent involved, it really just feels like everybody on set was just ready for it to be done; and I was too.
Despite having a good cast and great cinematography, all players seem to sleepwalk their way through deadpan deliveries and tedious dialogue. Anne Carlisle, who sizzled in Liquid Sky, seems utterly detached here as the lead. Many exchanges feel like early rehearsals, with several actors blandly speaking through their lines.
Then there's the plot, which is just too silly to suspend disbelief. Our lead's 3-year-old boy is seen witnessing a murder by a hitman. At the concern of his bosses, he's forced to befriend his mother and told to kill him. I'm pretty sure no court would really entertain a toddler's accusations.
The details of how these people come to know and interact with each other is even more absurd. The hit man brazenly follows this woman around for days. Even though she's noticed this, she's flattered by it and immediately tries to get a date. Shortly afterwards, he's handling her kid and sleeping at her house. Pretty bold for a single mom in New York City.
Very few scenes actually progress the plot in a meaningful way, or even build character relationships. The aforementioned dispassion only makes it worse. What should be climatic situations feel underwhelming, poorly acted, and just plain cheesy. Add in the dated (even for its time) made-for-TV style soundtrack, and it's just a real challenge to get through.
That's not to say there isn't anything redeeming about Perfect Strangers. Larry Cohen is good visual director, and seeing classic, gritty NYC is a real treat. We also get an almost documentary-like glimpse into feminist fringe groups of the day, which is not something I've seen a lot of in 80s movies. Despite all the potential this film could have had with the talent involved, it really just feels like everybody on set was just ready for it to be done; and I was too.
Low budget, off-beat film noir.
miralgpa5 September 2000
This low-budget crime drama deserves a second look (unfortunately it is currently unavailable in video). It is a good example of modern film noir, with its gritty realism, excellent New York location photography, and moody score.
The story involves, Johnny, a hitman (played by Brad Rijn), whose contract hit on a gangland rival is witnessed by a three year old boy, playing in his backyard. Johnny's initial motivation to "eliminate" the one witness to the crime (under orders of his mob boss) becomes conflicted by his growing romantic involvement with the boy's mother, Sally, (played by Anne Carlisle). Occasional semicomic relief is provided by the incomparable Ann Magnuson, in the role of a male-hating ultra-feminist and best friend of Sally.
The story is by no means perfect and the ending somewhat disappointing. But its appeal lies in its offbeat look and quirky directing and acting. This is a film with definite cult potential.
The story involves, Johnny, a hitman (played by Brad Rijn), whose contract hit on a gangland rival is witnessed by a three year old boy, playing in his backyard. Johnny's initial motivation to "eliminate" the one witness to the crime (under orders of his mob boss) becomes conflicted by his growing romantic involvement with the boy's mother, Sally, (played by Anne Carlisle). Occasional semicomic relief is provided by the incomparable Ann Magnuson, in the role of a male-hating ultra-feminist and best friend of Sally.
The story is by no means perfect and the ending somewhat disappointing. But its appeal lies in its offbeat look and quirky directing and acting. This is a film with definite cult potential.
Entertaining thriller; dumb characters. (spoilers)
vertigo_143 January 2006
Warning: Spoilers
Writer/Director Larry Cohen offers an interesting thriller with 'Perfect Strangers,' which would have been more logical had it not been premised around such a stupid plot. That is, a young mafioso who's stabbing of another man is witnessed by a two year-old from behind a fence. At first, certain that the boy is too young to act as a reasonable witness for the cops (and I doubt any court would let a kid that young testify anyways...and doing so would give a defense attorney good grounds for appeal), but later doubts the boy's ability to identify him, and gets nervous. What is even dumber is, that his crime associates, want to kill the kid because they're worried he may be a viable key witness. In they end, they turned out to be dumber than the guy who actually committed the crime.
To get close to the kid, I suppose as a way of testing what the kid knows and can tell, he hooks up with the boy's mother who is also a stupid character. Although it may be harsh to criticize her for getting cozy so quickly with some guy she met on the street, she always ignores many of the warning signs that this is the guy that stabbed the man just behind their backyard fence. She is aware that a crime occurred, and rushed her boy inside when she saw that he was standing in the backyard by the fence staring at the dead man. Inconsistent in attitude, this sense of emergency never seems to grip her much or make her changes her ways throughout the rest of the film. And the only one who might actually be able to get her to wake up and realize what is going on (too late) is her estranged husband who is suspicious of the new beau and warns her about him for the sake of her and the kid.
The story was at least entertaining enough, offering at least some mystery where the plot is based along too many logical flaws--namely, the stupidity of the main characters. But it might nonetheless be worth checking out. Unfortunately, Cohen doesn't offer some of the good-natured quick wit or brief, black comedy he does in his later films. But what the heck, it's a low-budget production. Look for Ann Manguson (of 'Making Mr. Right') in a brief role as the main woman's feminist sidekick, Malda.
To get close to the kid, I suppose as a way of testing what the kid knows and can tell, he hooks up with the boy's mother who is also a stupid character. Although it may be harsh to criticize her for getting cozy so quickly with some guy she met on the street, she always ignores many of the warning signs that this is the guy that stabbed the man just behind their backyard fence. She is aware that a crime occurred, and rushed her boy inside when she saw that he was standing in the backyard by the fence staring at the dead man. Inconsistent in attitude, this sense of emergency never seems to grip her much or make her changes her ways throughout the rest of the film. And the only one who might actually be able to get her to wake up and realize what is going on (too late) is her estranged husband who is suspicious of the new beau and warns her about him for the sake of her and the kid.
The story was at least entertaining enough, offering at least some mystery where the plot is based along too many logical flaws--namely, the stupidity of the main characters. But it might nonetheless be worth checking out. Unfortunately, Cohen doesn't offer some of the good-natured quick wit or brief, black comedy he does in his later films. But what the heck, it's a low-budget production. Look for Ann Manguson (of 'Making Mr. Right') in a brief role as the main woman's feminist sidekick, Malda.
All it takes is one slip-up.
lost-in-limbo20 July 2007
After a Mafia hit man kills his target in a back alley, he looks up to notice a toddler has seen what he has done. When the mother comes out and notices the body, she goes about things as if her son didn't see anything. Under pressure by the Mafia to do something about it, he befriends the mother of the child to see how much the kid can put together of what he saw. The pressure starts to build as the Mafia is constantly on his back to rid the kid, while the boy's estrange father is trying his best to get back into the child and mother's life and the police are getting suspicious.
Style and mood features strongly in director/writer Larry Cohen's understated low-budget noir-like thriller. It's an atmospheric nail-biter in the old tradition of showing little in the way of explosive currents, but rather developing on the tight and emotionally realistic situation captured in the authentically haunting and forcible New York locations. Cohen's serviceable direction clearly cooks up an eerie presence from its shadowy urban backdrop that works favourably with Dwight Dixon's lingering smoky jazz cues throughout the stirring score and Paul Glickman's prominently moody cinematography complements it all nicely. The editing is swiftly concise. Even with its cheap origins, it has a solid professional ambiance that goes onto make it one highly effective presentation. Cohen's cynically terse script swoops right into the social commentary, as on today's menu is a feminist stance, children caught between feuding parents and the exploitation of their naïve innocence. There are few offbeat touches, but for most part the premise is played straight, as it did lack the sharp-laced wit we've come to expect. This dry touch only heightened the taut nature, which leads to a potent conclusion. Sometimes holes can show up and at times the pacing can succumb to stodgy handling, but these moments are a minor fracture to the overall feel. Anne Carlisle's soothing performance is that of elegance, but also burning conviction as the mother. In a disquieting and subtle turn, Brad Rijn perfectly portrays his laconic character with a lurking menace that might drop his guard. Mathew Stockley as the child definitely passes the muster. In short, but extremely quirky parts are Ann Magnuson (as a feminist man hater) and Stephen Lack (stuck up police Lieutenant).
Re-watching this interesting and sorely overlooked Cohen entry, goes on to prove what a versatile filmmaker he is.
Style and mood features strongly in director/writer Larry Cohen's understated low-budget noir-like thriller. It's an atmospheric nail-biter in the old tradition of showing little in the way of explosive currents, but rather developing on the tight and emotionally realistic situation captured in the authentically haunting and forcible New York locations. Cohen's serviceable direction clearly cooks up an eerie presence from its shadowy urban backdrop that works favourably with Dwight Dixon's lingering smoky jazz cues throughout the stirring score and Paul Glickman's prominently moody cinematography complements it all nicely. The editing is swiftly concise. Even with its cheap origins, it has a solid professional ambiance that goes onto make it one highly effective presentation. Cohen's cynically terse script swoops right into the social commentary, as on today's menu is a feminist stance, children caught between feuding parents and the exploitation of their naïve innocence. There are few offbeat touches, but for most part the premise is played straight, as it did lack the sharp-laced wit we've come to expect. This dry touch only heightened the taut nature, which leads to a potent conclusion. Sometimes holes can show up and at times the pacing can succumb to stodgy handling, but these moments are a minor fracture to the overall feel. Anne Carlisle's soothing performance is that of elegance, but also burning conviction as the mother. In a disquieting and subtle turn, Brad Rijn perfectly portrays his laconic character with a lurking menace that might drop his guard. Mathew Stockley as the child definitely passes the muster. In short, but extremely quirky parts are Ann Magnuson (as a feminist man hater) and Stephen Lack (stuck up police Lieutenant).
Re-watching this interesting and sorely overlooked Cohen entry, goes on to prove what a versatile filmmaker he is.
Toddlers will learn to talk one day.
mark.waltz12 August 2023
Warning: Spoilers
Single mom Anne Carlisle is unaware that her two year old son witnessed a mob hit, and that her new boyfriend Brad Rijin is only with her on mob orders to kill the kid for witnessing what Rijin did. She's also dealing with her ex-husband who has tried to kidnap the kid, so it's easy to see why as a mom she's a bit scatterbrained sometimes. Maybe her choice in female friends (vile man hating feminist Ann Magnuson wants to bathe in male tears) is also an issue. But she's definitely in a bad situation, and even worse big 80's hair.
This Larry Cohen neo noir has a lot of things going for it, including some great vintage New York City location shots. Yes, a ton of movies use Manhattan for its gritty streets, but when it's used right, the city becomes a character, and the camera gets to go to some terrific areas that don't often get visits from film crews. These colorful lower Manhattan areas with the neighborhood feel are even more iconic than the touristy areas for the artistic vibe and personality that this film beautifully expresses.
As a film, this has moments that seem rather amateur, and there are some genuinely stupid lines that you'd never hear anyone actually say, particularly a savy New Yorker. Forgiving that, this has a great idea, sensational elements along the way, and not using known actors gives it a realistic feel that mainstream films can't always achieve successfully. The kid's cute, and when he meets Rijin realistically acts upset but unable to verbalize it. That moment is ingenious and drives every scene that Rijin and the kid share.
This Larry Cohen neo noir has a lot of things going for it, including some great vintage New York City location shots. Yes, a ton of movies use Manhattan for its gritty streets, but when it's used right, the city becomes a character, and the camera gets to go to some terrific areas that don't often get visits from film crews. These colorful lower Manhattan areas with the neighborhood feel are even more iconic than the touristy areas for the artistic vibe and personality that this film beautifully expresses.
As a film, this has moments that seem rather amateur, and there are some genuinely stupid lines that you'd never hear anyone actually say, particularly a savy New Yorker. Forgiving that, this has a great idea, sensational elements along the way, and not using known actors gives it a realistic feel that mainstream films can't always achieve successfully. The kid's cute, and when he meets Rijin realistically acts upset but unable to verbalize it. That moment is ingenious and drives every scene that Rijin and the kid share.
Neat urban noir thriller from the always reliable Larry Cohen
Woodyanders23 September 2010
Warning: Spoilers
Hit-man Johnny (well played with brooding intensity by Brad Rijn) carves up a guy in an alley way. Two-year-old boy Matthew (a remarkably good portrayal by the adorable Matthew Stockley) witness the rub out. Johnny befriends Matthew's spunky and self-reliant single mom Sally (a fine and sympathetic performance by Anne Carlise of "Liquid Sky" fame) and plans on eventually killing Matthew. Cult writer/director Larry Cohen makes vivid and inspired use of the dingy New York City locations, firmly grounds the story in a totally plausible everyday reality populated by complex and credible true-to-life characters, and wrings plenty of white-knuckle suspense from the absorbing premise (a scene with Johnny and Matthew on a swing in an empty public park is truly harrowing). Rijn's Johnny makes for a fascinatingly conflicted main character: While his capacity for savage violence is genuinely frightening, Johnny's smooth charm, handsome looks, and anguished struggle with his own conscience ensure that he's nonetheless still a likable guy. The sound acting from a tip-top cast qualifies as a major asset: Rijn and Carlise do sterling work in the lead roles, with excellent support from John Woehrle as Sally's jerky ex-husband Fred, Stephen Lack as meddlesome detective Lieutenant Burns, Ann Magnuson as Sally's angry man-hating radical feminist friend Malda, and Zachary Hains as wise old Mafia capo Moletti. Paul Glickman's slick cinematography gives the picture a nice bright look. Dwight Dixon's moody'n'jazzy score also does the trick. An unjustly neglected and underrated sleeper.
Had Potential
tysonrowlands15 July 2022
Some nice shots and a few moments of suspense still don't help Perfect Strangers from dragging a bit too much. It's one of Larry Cohen's more down to earth films without monster babies or blob-like yogurt, but not a lot of the script makes sense and it ends with more of a thud than a bang.
Weak N.Y. thriller
lor_21 February 2023
Warning: Spoilers
My review was written in June 1985 after watching the movie on Embassy video cassette.
"Perfect Strangers" is a dull suspense thriller shot in New York under the title "Blind Alley" two years ago by indie filmmaker Larry Cohen, before his recent pics "Special Effects" and "The Stuff". Film was released briefly in Indianapolis last November by distrib New Line and now is entering the home video market.
Anne Carlisle (of cult hit "Liquid Sky") toplines as Sally, mother of two-year-old Matthew (Matthew Stockley), who refuses to help the police when her infant witnesses a gangland slaying in an alley near their Greenwich Village apartment. The killer is Johnny (Brad Rijn, male lead in "Smithereens"), a young guy with no criminal record who works for an organized crime syndicate.
Johnny introduces himself to Sally and convinces himself the kid doesn't recognize him, but his crime bosses insist he kill the child to avoid the chance that the police will be able to use psychologists (as happened in a real-life case in the Midwest) to have the kid help create a positive identification.
Johnny refuses, instead becoming romantically involved with Sally and even seemingly protects the child from its father, her estranged husband Fred (John Woehrle). Pic climaxes in Johnny kidnapping the child and having a fatal confrontation with Sally.
Low-budget picture suffers from bland, inexpressive acting and routine development of its premise (there never is any indication that the kid could actually finger the killer). In particular, Carlisle is styled as very plain, with a most unbecoming hairdo, resulting in none of the allure of her dual role debut in "Liquid Sky".
"Perfect Strangers" is a dull suspense thriller shot in New York under the title "Blind Alley" two years ago by indie filmmaker Larry Cohen, before his recent pics "Special Effects" and "The Stuff". Film was released briefly in Indianapolis last November by distrib New Line and now is entering the home video market.
Anne Carlisle (of cult hit "Liquid Sky") toplines as Sally, mother of two-year-old Matthew (Matthew Stockley), who refuses to help the police when her infant witnesses a gangland slaying in an alley near their Greenwich Village apartment. The killer is Johnny (Brad Rijn, male lead in "Smithereens"), a young guy with no criminal record who works for an organized crime syndicate.
Johnny introduces himself to Sally and convinces himself the kid doesn't recognize him, but his crime bosses insist he kill the child to avoid the chance that the police will be able to use psychologists (as happened in a real-life case in the Midwest) to have the kid help create a positive identification.
Johnny refuses, instead becoming romantically involved with Sally and even seemingly protects the child from its father, her estranged husband Fred (John Woehrle). Pic climaxes in Johnny kidnapping the child and having a fatal confrontation with Sally.
Low-budget picture suffers from bland, inexpressive acting and routine development of its premise (there never is any indication that the kid could actually finger the killer). In particular, Carlisle is styled as very plain, with a most unbecoming hairdo, resulting in none of the allure of her dual role debut in "Liquid Sky".
Dumb witness
dbdumonteil24 October 2004
A hit-man 's crime took place under a toddler's eyes.The boy cannot speak yet ,but as his mother unwisely says,he's very clever,very observant and when he starts speaking,he will have a lot to tell us about.So the murderer seduces the mother in order to get rid of the witness.The only interesting scenes are the ones which involve the man and the child.And even with them,the movie never really takes off.The writers drag things out with their photographs trick which exhausts any suspense.The adults are not very convincing,and Johnny's behavior does not make any sense.The mother is a bubblehead -how long it takes her to find out what lies beneath!-,and the actress does not even succeed in making us believe she loves her son dearly.
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