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A Night at the Golden Eagle (2002)
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Reviews Counted:17
Fresh:7
Rotten:10
Average Rating:4.6/10
Synopsis:
Tommy (Donnie Montemarano) is an ageing career criminal, released from prison after a seven-year stretch, to be reunited with his old heist buddy, Mick (Vinny Arigo). Mick takes Tommy to his room...
Tommy (Donnie Montemarano) is an ageing career criminal, released from prison after a seven-year stretch, to be reunited with his old heist buddy, Mick (Vinny Arigo). Mick takes Tommy to his room in the crumbling splendor of the Golden Eagle Hotel in a downbeat area of Los Angeles.
The Hotel's inhabitants are a bizarre mixture of elderly bums, prostitutes and pimps. Mick, however, has a plan for he and his pal to escape this mess, go straight and make a new life working in Las Vegas. Tommy is not so sure about the plan and seems intent on landing right back in prison again. When Tommy disastrously tangles with a prostitute (Natasha Lyonne), whose pimp is a savage thug (Vinnie Jones), it seems as if the old boys' exit strategy may be nothing more than a pipe dream. -- © Shangri-La Pictures
Starring: Donnie Montemarano, Vinny Argiro, Natasha Lyonne, Vinnie Jones
Starring: Donnie Montemarano, Vinny Argiro, Natasha Lyonne, Vinnie Jones, Ann Magnuson, James Caan
Director: Adam Rifkin
Director: Adam Rifkin
Studio: Keystone
Reviews for A Night at the Golden Eagle
Nothing about the stories in and of themselves is particularly original, but Rifkin knows how to create atmosphere.
One just waits grimly for the next shock without developing much attachment to the characters.
Never decides whether it wants to be a black comedy, drama, melodrama or some combination of the three.
The director seems to take an unseemly pleasure in [the characters'] misery and at the same time to congratulate himself for having the guts to confront it.
Another in-your-face wallow in the lower depths made by people who have never sung those blues.
Too bad writer-director Adam Rifkin situates it all in a plot as musty as one of the Golden Eagle's carpets.
Rifkin no doubt fancies himself something of a Hubert Selby Jr., but there isn't an ounce of honest poetry in his entire script; it's simply crude and unrelentingly exploitative.
A modest pleasure that accomplishes its goals with ease and confidence.
It's Tommy's job to clean the peep booths surrounding her, and after viewing this one, you'll feel like mopping up, too.
What little grace [Rifkin's] tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
The project is a labor of love, powerfully effective in shining a light on a part of the world from which most would rather avert their eyes.
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