A meek word processor in New York impulsively travels downtown to Soho for date with an attractive, but apparently disturbed young woman, and finds himself trapped in a nightmarishly surreal vortex of improbable coincidences and farcical circumstances.Written by
Scorsese designed the film as a parody of Hitchcock's style. The elaborate camera movements echo sequences in Marnie (1964), while Howard Shore's score emulates the style of one of Hitchcock's most frequent collaborators, Bernard Herrmann. See more »
June addresses Paul by his name twice, although he never tells her his name. See more »
[Paul and Lloyd in front of a computer terminal]
Alright, punch. Punch it in.
Okay, let's, first of all, refresh the screen here. Alright, and go into "format ruler".
[Lloyd punches at the keyboard]
All right. Now, file?
[presses a key]
[...] See more »
The closing credits are displayed over a moving shot of Paul's office, during which more and more employees show up for work. When the camera passes Paul's desk again, he has disappeared. See more »
Such a dark, ironic and uncomfortably funny string of events plus a large helping of bizarre, paranoid and unpredictable characters have never before been forged into one story.
The film follows Paul Hacket (Griffin Dunne) on a date from hell, where from square one it all goes horribly wrong. As we move on, the mood winds up into a frenzied nightmare as this poor mans' plight goes from bad to worse. "All I want to do is go home" he says, running for his life from an angry mob.
The story isn't complex, which you may think could bore, but the characters are so delightfully wacky that you can't help but be transfixed.
We've all had bad days when we've said "Phew! What a nightmare!" - well forget it, until you've taken half the knocks this guy does, you've had but a walk in the park.
Don't just rent this movie - buy it.
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