A bored bank teller's life changes dramatically when two teams of crazy robbers hold up his branch. The main characters are held hostage and fall victim to the comedic version of The Stockholm Syndrome.
Antoine and Kenny Tyler are NCAA college basketball players, and Antoine is the star of the team. Suddenly Antoine dies of a heart attack and Kenny has to fill his shoes as leader of the ... See full summary »
Eric comes to El Camino looking for his unknown dad. He's harassed, hit and jailed by a drunk local cop, who later shoots at a liquor mart with Eric +4 inside. The sheriff and deputy then shoot up the place, answering each other's fire.
While they're on vacation in the Southwest, Rae finds out her man Michael spent their house money on a classic car, so she dumps him, hitching a ride to Vegas for a flight home. A kid promptly steals Michael's car, leaving him at the Zip & Sip, a convenience store. Three bumbling robbers promptly stage a hold up. Two take off with the cash stranding the third, with a mysterious crate, just as the cops arrive. The robber takes the store hostage. As incompetent cops bring in a SWAT team and try a by-the-book rescue, Michael has to keep the robber calm, find out what's in the crate, aid the negotiations, and get back to Rae. The Stockholm Syndrome asserts its effect.Written by
The song playing from the 8-track tape at the beginning of the movie was a number 1 hit in April of 1973 for the group Tony Orlando and Dawn. The back up singers known as Dawn featured Telma Hopkins who would go on to become a well known actress for her numerous television sit-com roles in the 80s and 90s. One of which was Bosom Buddies (1980-1982) featuring a then unknown Tom Hanks. See more »
When the sheriff asks for the book and it is removed from the cellophane the book is blue. In later scenes it is a light tan. See more »
[When Rodrigo takes Mike from the store the first time and learns that Mike and Sheriff Pembry already know each other, and the sheriff hates him, he whines to Mike]
"Man your not worth anything as a hostage! I have to get in line just to shoot you!"
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The Citizen Kane of movies you'd buy at a car wash in Flagstaff, Arizona.
There are a couple of these movies you catch on cable that manage to sneak some real wit and sympathy into a no-man's-land of stylistic boredom that doesn't even earn the name B-movie ( where this kind of movie is concerned, it's always 1986. )
There are rules to watching a movie like this. You never call them by their real name, because you can't remember their real name, but are to be referred to instead by embarrassed asides to your girlfriend that go entirely ignored while she flips through a Zagat guide, such as "I saw this piece of s--t with Burt Reynolds and Sinbad that was actually kind of funny." Also, you never watch them from beginning to end, but catch them in the middle. Failure to obey this law could result in a meteoric drop in self-esteem and feeling of productivity. That feeling like "the day's being wasted."
The art of a car-wash movie consists of brushing against cliché then pulling back at the last moment. The trick isn't to get you to laugh, but to keep you smiling internally. It's all in the delivery. When Jamie Foxx first encounters a vaguely hostile Little League team and says "Children of the corn," it could very easily come off like a hokey black pop-culture reference to get the Magic Johnson Cineplex crowd roaring. But in this movie, he says it quietly, as if to himself, with a girlishly shocked tinge to his voice. The result is that you find yourself chuckling about the line a half-hour later or after the movie has ended, instead of while it's happening. Most of the jokes here work like that.
And Jamie Foxx is so charming in this film. He looks "street" enough but acts the ninnyhammer as well as Woody Allen, and there's a refreshing lack of explanation about why he's such a nerd. Who else can play the badass, the geek, the samaritan, the tormented artist, the preening genius, and every shade in between, and never coast on the support and shared background of a presumed black audience? There is no pandering in Foxx's performances, no trace of the veiled minstrel show that otherwise plagues most black performers who fall back on those tricks for easy laughs.
A prescription: If you don't believe me that there's a finesse to making even a good bland film, then watch Legally Blonde 2 back-to-back with this one and learn the error of your ways.
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