Entry (1992) is an urban paranoia Crime/Thriller. Imagine that someone
in authority wants to destroy you and take your wife. Kurt Russell
(nightclub developer) and his wife Madeleine Stowe are having an
evening at home when someone breaks into their home. To escape, he
holds a knife to her throat. The police arrive, in the person of Ray
Liotta, LAPD, and his partner. When Liotta arrives the next day and
installs a security system, they see the beginnings of a friendship.
|Russell decides to go on a
"ride along" with Liotta. At the end of the shift, Liotta
takes Russell to bust the burglar that broke into his house, and
offers Russell the chance to beat him senseless. When Russell
declines, Liotta does it for him. Russell, realizing that Russell is
deranged, tries to break off contact, but Stowe, happy that the creep
is off the streets, doesn't agree. Once Russell convinces Liotta that
he really doesn't want him around, Liotta tries to ruin his life and
claim Stowe for his own.
|Stowe shows her breasts in a
dark love scene with Russell
Sherrie Rose also shows her
breasts while having sex with Liotta in his car.
DVD info from Amazon.
Widescreen anamorphic, 1.85:1, a little
dark and grainy
and TV spots
|Whether or not the plot works for you
depends on your acceptance of the fact that Stowe would side with
Liotta, who she just met, over Russell, who she supposedly loves and
has known a long time. When Russell tells her what happened during the
ride along, she wants to be convinced, and he essentially tells her to
just shut up and avoid Liotta. This, to me, justifies her going
against Russell. No wife wants to be told what to do, or that her
husband doesn't care what she thinks.
Liotta is brilliant as the bad guy.
Russell did a credible job, although I didn't really feel his
claustrophobia as Liotta tightened the noose. He kind of went from
angry to whipped dog in one easy step.
- With their
dollars ... it was a success. Grossed $57 million
domestically, and a subsequent $26 million in rentals
guideline: 7.5 usually indicates a level of
excellence, about like three and a half stars
from the critics. 6.0 usually indicates lukewarm
watchability, about like two and a half stars
from the critics. The fives are generally not
worthwhile unless they are really your kind of
material, about like two stars from the critics.
Films under five are generally awful even if you
like that kind of film, equivalent to about one
and a half stars from the critics or less,
depending on just how far below five the rating
guideline: A means the movie is so good it
will appeal to you even if you hate the genre. B means the movie is not
good enough to win you over if you hate the
genre, but is good enough to do so if you have an
open mind about this type of film. C means it will only
appeal to genre addicts, and has no crossover
appeal. D means you'll hate it even if you
like the genre. E means that you'll hate it even if
you love the genre. F means that the film is not only
unappealing across-the-board, but technically
inept as well.
Based on this
description, this film is a B-.
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