VALUTAZIONE IMDb
7,0/10
12.913
LA TUA VALUTAZIONE
Un ragazzo ascolta per caso una telefonata da cui scopre che è iniziata una guerra nucleare e che i missili colpiranno la sua città 70 minuti più tardi.Un ragazzo ascolta per caso una telefonata da cui scopre che è iniziata una guerra nucleare e che i missili colpiranno la sua città 70 minuti più tardi.Un ragazzo ascolta per caso una telefonata da cui scopre che è iniziata una guerra nucleare e che i missili colpiranno la sua città 70 minuti più tardi.
- Premi
- 2 vittorie e 5 candidature
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)
Trama
Lo sapevi?
- QuizSome three decades after making this movie together, after both of them had been divorced from other spouses, Anthony Edwards and Mare Winningham actually started dating in their private lives. They were married in 2021.
- BlooperOn 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".
- Citazioni
Julie Peters: People are gonna help each other, aren't they? Rebuilding things?
Harry Washello: I think it's the insects's turn.
- Curiosità sui creditiDedicated to Doctor Biobrain
- Versioni alternativeA 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.
Recensione in evidenza
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 lug 2011
- Permalink
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Dettagli
- Data di uscita
- Paese di origine
- Lingua
- Celebre anche come
- Miracle Mile
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 3.700.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 1.145.404 USD
- Fine settimana di apertura Stati Uniti e Canada
- 341.401 USD
- 21 mag 1989
- Lordo in tutto il mondo
- 1.145.578 USD
- Tempo di esecuzione1 ora 27 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1
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