Admit One DailyLike The Young Americans, this had all the gloss and energy of an American studio movie, just filtered through a very British, very mid-90s panic about ram-raiding, delinquency and disaffected youth.
We’re not going to be able to move for Beatles films when Sam Mendes’ Fab Four quadrilogy hits next year, but they’ll have to be good to top this early 90s take on the Hamburg years. And no one has ever out-Lennoned Ian Hart.
Feels like this was an attempt to turn Ray Liotta into a major mainstream movie star following Goodfellas. Never really happened for him in that way, which was probably for the best as he was such a great character actor.
Funny then. Funny now.
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DNSI seem to recall my friend Pete loving this movie. I can recall absolutely nothing about it, which is odd because Peter Weir never seemed to make unmemorable films. Maybe this quiet, introspective grief stuff just didn’t connect with me at that age.
Debra Winger more than holds her own next to Sir Anthony Hopkins in this eminently watchable tearjerker from Sir Dickie Attenborough.
Robert Altman’s follow-up to The Player featuring another all-star ensemble cast. Seems it was very well received at the time, although its sprawling overlapping stories didn’t really make much of an impression on 23 year old me.
There was definitely a period in the mid-90s where “based on the John Grisham bestseller” was basically its own genre. Big stars, prestige directors, glossy legal thrillers, loads of Washington corridors and morally compromised lawyers.
Spielberg reminding everyone he was capable of much more than blockbuster entertainment.
Back before Mr Bates vs The Post Office, it was films like this that turned miscarriages of justice into mainstream entertainment.
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