An unconventional cop who doesn't take any bull, is paired up with an amazing detective to capture some powerful criminals but the cop soon realizes that his by the book partner has split personality disorder.
The escaped delinquent John W. Burns, Jr. replaces Dr. Maitlin on a radio show, saying he's the psychiatrist Lawrence Baird. His tactless radio show is a hit, and he becomes very popular. ... See full summary »
One man's quiet suburban life takes a sickening lurch for the worse when a young couple move into the deserted house next door. From the word go it is obvious these are not the quiet professional types who *should* be living in such a nice street. As more and more unbelievable events unfold, our hero starts to question his own sanity... and those of his family.Written by
In the scene where Romona offers oral sex to Earl Keese, the chorus providing the soundtrack to the scene can be heard chanting the word "come" over and over again. However when Earl hears his wife the choir begins chanting "Oh no". See more »
As Vic and Ramona pull away in Earl's car near the end of the film (at the 1 hour 26 minute mark), a set light can be seen reflected in the rear side window. See more »
The movie's original cut had a very dark ending with Earl getting killed, but the studio re-edited the film with a happy ending with Earl leaving home and joining Vic and Ramona on their adventures. See more »
Despite the bad critical reception, a gem of a film
A plot synopsis here would be something of a waste of time, as one or more already appear on this site, but I felt some comments might attract another viewer to this unique film. The movie was very poorly received upon its release, by critics and audience alike. Many fans of Belushi and Aykroyd did not take to their reversal of what was typically their typecasts: here Belushi plays the straight man against Aykroyd's lunatic, which is what I beleive makes the movie so incredibly funny.
On another note: when watching this film, give some attention to the soundtrack, brilliantly done by Bill Conti. The soundtrack, which would probably not work with any other movie, fits Neighbors perfectly. Using the Wagnerian technique of leitmotives, Conti assigns themes to each character: Earl is portrayed by some "shlub" music on bass trombone, Vic gets an eerie theremin melody, Ramona's appearances are always underscored by a sultry saxophone, and native american drums accompany Earl's wife Enid. The way the music underlines the drama is hard to describe without sounding like it cheaply "mickey-mouses" the actions onscreen, so I will forgo an in-depth analysis.
Suffice to say: great movie, brilliant soundtrack.
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