IMDb RATING
5.7/10
2.5K
YOUR RATING
A fired TV salesman (Roth) abandons his girlfriend (Fonda) for the open highway. Encouraged by her best friend (Cates), the girlfriend has an affair with an idealistic local house painter (S... Read allA fired TV salesman (Roth) abandons his girlfriend (Fonda) for the open highway. Encouraged by her best friend (Cates), the girlfriend has an affair with an idealistic local house painter (Stoltz) just as the boyfriend returns.A fired TV salesman (Roth) abandons his girlfriend (Fonda) for the open highway. Encouraged by her best friend (Cates), the girlfriend has an affair with an idealistic local house painter (Stoltz) just as the boyfriend returns.
- Awards
- 1 win & 1 nomination
Sandra Ellis Lafferty
- Yard Sale Lady
- (as Sandra Lafferty)
Warren Burton
- Radio Preacher
- (voice)
Storyline
Did you know
- TriviaIn the end credits there is a special thanks to Harvey Keitel. He was not involved in the movie as such, but he made a very important phone call to Tim Roth. Roth had been offered a big and well paid part in a big budget film immediately before this low budget independent film was to begin shooting. Harvey Keitel made a phone call to Roth, giving him the following advice "Don't take the money. Take the film you really want to make". So Roth stayed with this project.
- SoundtracksHot Burrito #1
Performed by The Flying Burrito Brothers
Written by Chris Ethridge / Gram Parsons
Courtesy of A&M Records, Inc.
Featured review
I stumbled across this little piece of fluff on IFC television last night. It had a cast worth checking, so in spite of IFC's unhopeful two star rating, I settled in to watch. What an odd little film.
The actor's performances were good -- very natural in terms of their interactions and relationships. The pace was a tad slow -- while I don't think movies need fist fights and explosions to create pace, a dialog-intensive film needs to beware of ......................... long..................................pauses. Still, that is a minor criticism in my view. If that was the only flaw in the film, I could and would have given it a higher rating because for the most part the actors handled those dialogic gaps pretty well.
The worse problem with this film was its failure in my view to address the fundamental "So what?" question. I was never given any reason to care a whit about any of these characters, with the limited exception of Beth (Bridget Fonda) whom I was hoping would get the hell out of Enfield. After she left, I rooted for her not be found by the pseudo-intellectual painter, Sid. Beth had made a couple of very bad choices, with the amoral Nick (Tim Roth) and the vacuous pop-psychologist, Sid, so I was rooting for her to stick to her guns, enjoy the moments of pleasure she had with Sid, and get away before her brain turned entirely to mush. Either Nick or Sid would have destroyed her: Nick with his amoral outlook and lack of direction; Sid with his pretensions of profundity that he used to shield his fundamental lack of imagination and ambition.
Still, I didn't care a helluva lot about Beth either. She made the right decision (finally), but her escape was not a complete triumph because for all we know she fell into yet another destructive relationship with some other needy weirdo two towns over.
All of these characters, in the end, were drifting along in pointless situations. With a film so lacking in plot, brevity was important and, thankfully, present. If this movie had pushed toward the two-hour mark, it would have been an utter waste of time unless the time had been used to give the viewer a reason to care about this crew of self-indulgent dim-wits.
The actor's performances were good -- very natural in terms of their interactions and relationships. The pace was a tad slow -- while I don't think movies need fist fights and explosions to create pace, a dialog-intensive film needs to beware of ......................... long..................................pauses. Still, that is a minor criticism in my view. If that was the only flaw in the film, I could and would have given it a higher rating because for the most part the actors handled those dialogic gaps pretty well.
The worse problem with this film was its failure in my view to address the fundamental "So what?" question. I was never given any reason to care a whit about any of these characters, with the limited exception of Beth (Bridget Fonda) whom I was hoping would get the hell out of Enfield. After she left, I rooted for her not be found by the pseudo-intellectual painter, Sid. Beth had made a couple of very bad choices, with the amoral Nick (Tim Roth) and the vacuous pop-psychologist, Sid, so I was rooting for her to stick to her guns, enjoy the moments of pleasure she had with Sid, and get away before her brain turned entirely to mush. Either Nick or Sid would have destroyed her: Nick with his amoral outlook and lack of direction; Sid with his pretensions of profundity that he used to shield his fundamental lack of imagination and ambition.
Still, I didn't care a helluva lot about Beth either. She made the right decision (finally), but her escape was not a complete triumph because for all we know she fell into yet another destructive relationship with some other needy weirdo two towns over.
All of these characters, in the end, were drifting along in pointless situations. With a film so lacking in plot, brevity was important and, thankfully, present. If this movie had pushed toward the two-hour mark, it would have been an utter waste of time unless the time had been used to give the viewer a reason to care about this crew of self-indulgent dim-wits.
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Details
Box office
- Budget
- $2,500,000 (estimated)
- Gross US & Canada
- $764,724
- Opening weekend US & Canada
- $75,957
- Apr 11, 1993
- Gross worldwide
- $764,724
- Runtime1 hour 35 minutes
- Color
- Aspect ratio
- 1.85 : 1
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