PUNTUACIÓN EN IMDb
7,0/10
13 mil
TU PUNTUACIÓN
Un joven escucha por casualidad una llamada telefónica en la que se informa del inicio de una guerra nuclear y de la llegada de misiles a su ciudad en 70 minutos.Un joven escucha por casualidad una llamada telefónica en la que se informa del inicio de una guerra nuclear y de la llegada de misiles a su ciudad en 70 minutos.Un joven escucha por casualidad una llamada telefónica en la que se informa del inicio de una guerra nuclear y de la llegada de misiles a su ciudad en 70 minutos.
- Premios
- 2 premios y 5 nominaciones en total
Mykelti Williamson
- Wilson
- (as Mykel T. Williamson)
Kelly Jo Minter
- Charlotta
- (as Kelly Minter)
Robert DoQui
- Fred the Cook
- (as Robert Doqui)
José Mercado
- Bus Boy from Diner
- (as Jose Mercado)
Argumento
¿Sabías que...?
- CuriosidadesThe punch line to the unfinished joke the loudmouth at the bar was telling (It's the mailman's last day on the job, he goes to a woman's house and she invites him in, makes love to him, makes him a wonderful breakfast and then gives him 5 dollars) is: Mailman: What was that for? Woman: Well I asked my husband what to do for you on your last day and he said, "Screw him, give him 5 dollars." The breakfast was my idea!
- PifiasOn the phone booth call, Chip told Harry the code to nuclear war. He said the code was "Thor Arthur 66ZZD." In the diner when Landa asked Harry to repeat the conversation, he said the code was, "Thor Arthur 66"DD"Z".
- Citas
Julie Peters: People are gonna help each other, aren't they? Rebuilding things?
Harry Washello: I think it's the insects's turn.
- Créditos adicionalesDedicated to Doctor Biobrain
- Versiones alternativasA little-seen preview version of the film included a special effect of two diamonds hovering after the nuclear explosion, just preceding the end credits. In the theatrical version and subsequent DVD release from MGM, the diamonds do not appear following the nuclear blast, rather the credits simply roll.
Reseña destacada
This is a find I will treasure, all the more because it's flawed. It has a plain TV-look and seems pretty straightforward, nothing that will pass muster for Criterion certainly, but if we learn to detach ourselves from aesthetic preoccupation and focus on meaning, we'll find it in the most inconpicuous of places. Such as here.
Imagine a fairy-tale fantasy about a man, who having stood up the one-in-a-million' girlfriend he just met, imagines a scenario of apocalyptic destruction that will permit him to redeem himself in her eyes and become the savior. When he rushes into her apartment to pick her up she is sleeping, a sleeping beauty and he the prince charming.
Now imagine this planted inside a world of chaotic synchronicity, the Los Angeles, nuclear-paranoid version of After Hours. Like the Scorsese film, this unfolds as latenight chance encounters - except at the doorstep of the end of the world. Lovely LA streets, empty, beckoning us to travel. Empty architecture, kitsch (the burger joint) or futuristic (the apartment high-rises). Clean looks, but things are delightfully askew. A gun-totting man walks into a gym and yells at a crowd of lycra and spandex that he needs a helicopter pilot (and finds one).
Better yet, consider this. The film starts with TV footage about the creation of life from the Bang onwards. Evident is a plan, a structure that births from nothing intelligent life. The actual story begins with the man finding perfect love, the soulmate that completes into one. This rare moment of attaining perfect balance in life, the rest of the film progressively assaults by showing how entropy and chaos foil the plan. There is no plan. Except it all begins with the man setting in motion the entire story of destruction, karmic or a deeper instinct of destrudo that overpowers the desire to love. Makers of our own fate.
Here the film falters, in the finale. The apocalyptic vision of an entire city in the grip of bloody frenzy is one of the most potent, better than most zombie films about the end of times ever achieved, but it ends the way it does. It's so strong it threatens to swallow everything into its black hole.
Others might like this last part more. Whatever you do, this is a sleeper you can't afford to miss. Criterion will not do the work for you on this one, this you have to seek out.
Imagine a fairy-tale fantasy about a man, who having stood up the one-in-a-million' girlfriend he just met, imagines a scenario of apocalyptic destruction that will permit him to redeem himself in her eyes and become the savior. When he rushes into her apartment to pick her up she is sleeping, a sleeping beauty and he the prince charming.
Now imagine this planted inside a world of chaotic synchronicity, the Los Angeles, nuclear-paranoid version of After Hours. Like the Scorsese film, this unfolds as latenight chance encounters - except at the doorstep of the end of the world. Lovely LA streets, empty, beckoning us to travel. Empty architecture, kitsch (the burger joint) or futuristic (the apartment high-rises). Clean looks, but things are delightfully askew. A gun-totting man walks into a gym and yells at a crowd of lycra and spandex that he needs a helicopter pilot (and finds one).
Better yet, consider this. The film starts with TV footage about the creation of life from the Bang onwards. Evident is a plan, a structure that births from nothing intelligent life. The actual story begins with the man finding perfect love, the soulmate that completes into one. This rare moment of attaining perfect balance in life, the rest of the film progressively assaults by showing how entropy and chaos foil the plan. There is no plan. Except it all begins with the man setting in motion the entire story of destruction, karmic or a deeper instinct of destrudo that overpowers the desire to love. Makers of our own fate.
Here the film falters, in the finale. The apocalyptic vision of an entire city in the grip of bloody frenzy is one of the most potent, better than most zombie films about the end of times ever achieved, but it ends the way it does. It's so strong it threatens to swallow everything into its black hole.
Others might like this last part more. Whatever you do, this is a sleeper you can't afford to miss. Criterion will not do the work for you on this one, this you have to seek out.
- chaos-rampant
- 19 jul 2011
- Enlace permanente
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- Títulos en diferentes países
- 70 minutos para morir
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 3.700.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 1.145.404 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 341.401 US$
- 21 may 1989
- Recaudación en todo el mundo
- 1.145.578 US$
- Duración1 hora 27 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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Principal laguna de datos
By what name was 70 minutos para huir (1988) officially released in India in English?
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