Red Rock West


Action / Crime / Drama / Thriller


Uploaded By: LINUS
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February 17, 2016 at 04:48 AM



Nicolas Cage as Michael Williams
Lara Flynn Boyle as Suzanne Brown
Dwight Yoakam as Truck Driver
720p 1080p
746.6 MB
23.976 fps
1hr 38 min
P/S 1 / 11
1.52 GB
23.976 fps
1hr 38 min
P/S 3 / 7

Movie Reviews

Reviewed by garthbarnes-83945 3 / 10

A great little film.

Spoilers Ahead:

Let's address the elephant in the room first, the movie is boring and Hopper is a dreadful actor. The movie even for its short length is boring. The other main problem is the phoniness of the script. What is this the Twilight Zone? He just cannot get out of town; everything works so he is trapped there. Only one other movie tried this and it is even worse than this: Oliver Stone's stink bomb U Turn. That film makes his Natural Born Killers look like Citizen Kane. From the beginning, with his arrival, his being mistaken by Wayne as Lyle the movie's sense of reality is painful. If you were hiring a hit-man, would you want a bit of a physical description of him? Does Cage remotely look like Lyle? What because they both drive cars with Texas license plates? Are you kidding me, who believes this? This and the terrible acting, with the exception of Walsh, the only actor in the cast doomed the movie at the box office. Everyone remember the killer Bronson in the Mechanic? Would he have given a hitchhiker a ride? Chatted amiably with him and been thrilled they both were in Vietnam? How dorky!

The contrivances to keep Michael in Red Rock would make Rod Serling say,"forget it, nobody will buy that, too phony." The pacing of the movie is like geological time, sloow. Hopper wrecks the movie with his ham bone overacting like he destroyed Blue Velvet. From the moment they get Wayne at jail until the crappy scene in the graveyard; Hopper shows why you do not want him in your movie. He is doing Frank Booth light here; it is so obvious and it destroys any remaining reality of the film. Yes, when I am desperate and just got money to kill Wayne's wife, I always stop at the local Holiday Inn for some quick bed action? One ridiculous scene after another with some really bad acting by Flynn Boyle and Hopper lay waste to the film. I love anti greed movies like Sierra Madre but please the writing and acting here are not remotely in the same league. Bogie, Huston and Holt versus Hopper, Flynn Boyle and Cage, the latter shows why he is an action movie star. In drama, like Bangkok Dangerous he is out of his genre. Do not believe me? Watch Matchstick Men, it bombed for a reason.

The greed message is lost among the wreckage that is this movie. When it was released it played at small art theaters for a reason, nobody would buy it for their big theaters. It was gone in a few weeks. Boring and slow like molasses, badly acted and written; it was held up as some wannabe Noir in color, no it is just crap, sorry.

Reviewed by Lechuguilla 9 / 10

A Thousand Miles From Nowhere

Vaguely reminiscent of great 1940's westerns, like "The Treasure Of The Sierra Madre" (1948), "Red Rock West" is a story about conscience, greed, and betrayal. Michael (Nicolas Cage) is a down and out, but honest, young man from Texas who goes west in search of work and money. He finds both, but not in the way he had expected.

The film's screenplay contains plenty of surprises and plot twists. Excellent cinematography, adroit film editing, and moody western music add tension and suspense. The expansiveness of the big sky country provides a wonderful setting. And the acting ranges from good to excellent, with great performances from Dennis Hopper and J.T. Walsh. Dwight Yoakam's specially recorded country/western song provides the film with a strong finale.

Correctly labeled as neo-noir, "Red Rock West" strikes me as being something else, as well. The plot is full of amazing coincidences and improbable timing, so much so that others may regard the screenplay as flawed. Ordinarily, I would agree. In this case, however, when combined with the moody atmosphere, and the fact that the small town of Red Rock seems almost empty of normal daily life, the coincidences and unlikely timing suggest a story that, beyond "noirish", is ... surreal. It's almost as if fate deliberately intervenes with improbable events so as to force Michael to come to grips with himself. From this point of view, the coincidences are not script flaws at all. They are necessary plot points in a nightmarish story of a young man who must confront his own demons ... disguised as other characters.

All we need here is Rod Serling, in a postscript, explaining, in his always clearly enunciated voice, that ... a young man, searching for himself, stops in a small, almost deserted town a thousand miles from nowhere. It's his final layover in a journey to ... the twilight zone.

Reviewed by Michael V. Metrik 9 / 10

Here's your definition of modern film noir

In any number of films, you can find Nicholas Cage as a strong, silent hero, Dennis Hopper as a homicidal maniac, Lara Flynn Boyle as a vamp/tramp, and the late, lamented J.T. Walsh as the heavy. These are the types of roles these four can play in their sleep, and they have done so often enough that to see them playing them again borders on cliche. What a relief, therefore, that John Dahl, a master at getting a lot of mood out of a little action, directed this nuanced noirish thriller. Hopper manages to keep from going over the top, Cage shows a little more depth than his usually-superficial action heroes, Boyle is by turns sultry, innocent, and scheming, and one gets a sense of the hard iron of the soul that is central to his character, Wayne. Dahl's direction gives a sense of the emptiness of the Big Sky country where the story takes place while also being intimate enough to show how a wrinkled brow can indicate a radical change of plot in store. The plot twists are top-notch, and one of the other great twists in this movie is that some of the supporting characters actually act as if they have brains. It isn't often that minor characters like deputy sheriffs have more brains than their headlining superiors. But with a director as smart as Dahl, you shouldn't be surprised by the intelligence of anything connected with this film. An excellent movie.

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