A simple self-destructive drifter and tough small-time boxer with a brain injury that could kill him meets and falls for a cute beach carnival owner, Ruby, but also befriends a sleazy friendly criminal, Wesley, who's planing a big score.
Martin Fallon is an I.R.A. bomber who tries to blow up a troop truck, but instead kills a bus load of school children. He loses heart and quits the movement and goes to London trying to leave the U.K. and start a new life. The I.R.A. wants him back (he knows too much) and the local crime boss, Meehan, will only help him if he performs one last hit, on a rival crime boss. When Fallon does perform the hit, he is seen by a Catholic priest. He refuses to kill an innocent again, and must find a way to escape the police without killing the priest who can identify him.Written by
John Vogel <firstname.lastname@example.org>
After Director Mike Hodges had a successful release with Croupier (1998), there was talk that there was going to be a release of a Director's Cut of this movie, but this never happened. See more »
There's no reason for killing or dying anymore. What's more, there's no reason for living!
That's a terrible thing to say!
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The end credits begin to roll up from behind the amusement park rides on the horizon. See more »
There's an unknown director's cut for which Mike Hodges originally had John Scott to compose the music. However the producers decided that they didn't like it and hired Bill Conti to redo the music. Also, after watching Hodges' cut, Samuel Goldwyn recut the film for American audience who wanted an action movie. Both Hodges and Mickey Rourke publically disowned the theatrical cut. See more »
Mickey Rourke is a much deeper and more dedicated actor than he gets credit for. His accent in " A Prayer.." is spot on and that is quite an accomplishment that takes months of dedication. He takes his place up in the front row with Gary Oldman, Pete Postlewaithe (sp.?) and I even have to include Brad Pitt after his amazing performance in Snatch. Rourke's Bad Boy image makes the moral dilemma he creates for himself or finds himself in even more effective. Brilliant scene when Hoskins becomes increasingly irate and at the peak of his fury we see him from Rourke's POV and his dark outline eclipses the first few letters of a "Courage" beer sign and only the flashing red neon letters RAGE remain.
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