Eye for an eye cast movie#
Eye for an eye cast drivers#
Eye for an eye cast skin#

The lead hasn’t bothered to shave off his post-millennial beard. Our story is set in 1978, but, though Travolta wears pants with slightly baggy bottoms, nothing else would point you to the Carter era. The overwhelming impression is that nobody is making even the slightest effort. Our hero travels to Galveston – his own home town – and gets caught up in a conspiracy involving oil, football and mental health. You, sir, are no The Long Goodbye (with apologies to Lloyd Bentsen’s 1988 vice-presidential campaign). A “dame” arrives to complain about a missing person, but, before embarking for Texas, Carson has to do something about his pesky cat.Ĭat? Are you trying to be The Long Goodbye. If you don't believe me, see 'Dead Man Walking.' As you consider the two movies, you may be inspired to painful conclusions about good and bad art.“My name is Carson Phillips,” Travolta intones to a set that suggests the office used by Sam Silvermint in a well-remembered Irish commercial. This is filmmaking at the level of three-card monte. It provides a one-in-a-million situation and tries to teach us a lesson from it thoughtful audience members will be aware they're not being treated fairly. Movies like 'Eye for an Eye' cheapen our character by encouraging us to indulge simplistic emotions - to react instead of analyzing. Now comes the final straw: The ending of the movie, which I will not reveal, is a complete copout, because it neatly finds a way to throw meat to the audience while technically, at least, leaving the Sally Field character off the hook.

Eye for an eye cast skin#

He is a vile monster, a villain to make the skin crawl. It is demonstrated he will and does kill again.

Eye for an eye cast movie#

Unlike 'Dead Man Walking,' which is a courageous attempt to show various points of view about the death penalty, this movie is one of those hypothetical cases where everything is skewed to lead up to the conclusion the filmmakers demand. This movie is intellectually corrupt because it deliberately avoids dealing with the issues it raises.

(Were the filmmakers trying to show they were broad-minded liberals except when it comes to well-deserved revenge?) There are also two quirky scenes where Field, newly energized by her martial arts training, beats up an innocent bystander and later, elated by the experience, has such aggressive sex with her mild husband that he can't believe it. Angel is a black lesbian, which is perfectly all right with me, although the movie had already tried to manipulate me in so many ways that I was seeking a shabby motive for her character, when none was probably intended. Therefore, he deserves to be killed - right? And Field is justified in murdering him - right? The film complicates things just a little with the presence in the support group of Angel Kosinsky (Charlayne Woodard), who suspects what Karen may be up to. He is also a thoroughly despicable, worthless human being.

As audience members, we have seen what no jury can ever see, Doob in the act of killing. Doob is definitely and without the shadow of a doubt a killer. Meanwhile we watch, through the film's omnipotent point of view, as Doob assaults and murders another victim. Karen goes ballistic, turns to her group's secret advisers for help, buys a weapon, and takes shooting and martial arts lessons. When he becomes aware she is following him, he visits a playground at her young daughter's school and terrorizes the little girl. He is a mean, nasty, brutish man who smokes all the time, has tattoos, needs a shave and kicks dogs. And through them she is introduced to a shadowy network of those who have chosen to take the law into their own hands. She joins a support group for survivors (their motto: 'You show me your heartbreak and I'll show you mine'). But Doob gets off on a stupid technicality, and then Karen grows obsessed. All the evidence points to him, even the DNA and semen samples. Meanwhile, a smart cop ( Joe Mantegna) quickly catches a suspect named Doob ( Kiefer Sutherland). Karen is shattered, and turns for comfort to her husband ( Ed Harris) and their young daughter.

Eye for an eye cast drivers#

The daughter calls for help, and Karen actually hears the attack over the telephone - and then tries to race home, gets stuck in traffic and is trapped in a nightmare scene where other drivers refuse her request to use a mobile phone. The movie stars Sally Field as Karen, a mother whose teenage daughter is raped and killed, in a particularly horrifying scene, early in the movie.