Murphy's Law is a thoroughly unpleasant 1986 thriller stars Charles Bronson as a cop systematically framed for one murder after another. The killings, though, turn out to be the work of a female nutcase (Carrie Snodgress) he had once sent away to prison. Everyone involved in this leans on the atrocity-and-revenge formula, particularly Bronson and director J Lee Thompson (The Guns of Navarone), two Hollywood guys who once upon a time made plenty of classic films. Snodgress's performance is unhinged, interesting but hard to watch, as we never really got to know her onscreen after Diary of a Mad Housewife. Just think of this movie as having come from the same creepy planet as the Death Wish series. --Tom Keogh
Computer scientist Hannon Fuller (Armin Mueller-Stahl) finds something extremely important. Knowing that he's marked for assassination, he leaves a message in the virtual reality world he's designed, hoping it will be found by colleague Douglas Hall (Craig Bierko). Hall is a suspect in Fuller's murder and indeed finds a bloody shirt in his house, with no recollection of what he did the night before. Hall plunges headlong into Fuller's world (a re-creation of l937 Los Angeles) to try to unravel the slaying and is soon knee-deep in confusion and trouble. What this film lacks in character depth and plot cohesiveness it makes up for in special effects and high concept. Fans of films like Blade Runner, Dark City, eXistenZ, and even the game Sim City should find this appealing. Of course, there's the question of letting the computers do all the heavy lifting in films while the humans walk through the plot (an all-too-familiar scenario in 1999), but the re-creation of 30s Los Angeles is certainly something to see, pallid script and acting or not. The Thirteenth Floor is a stylish modern-day noir that raises questions about technology vs. reality, all the while wrapped up in a murder-mystery story line. --Jerry Renshaw
It's only when you're life is truely on edge that you appreciate how precious and important everyday every moment is. After finding she has a life-threatening illness Susan Allen decides to spend what time is left to the fullest with her young daughter Carson. Tortured between her own terrible plight and what will happen to Carson she then crosses paths with an irresistable stranger. Although reluctantto get too involved as any future together seems impossible she soon finds out
It's only when you're life is truely on edge that you appreciate how precious and important everyday every moment is. After finding she has a life-threatening illness Susan Allen decides to spend what time is left to the fullest with her young daughter Carson. Tortured between her own terrible plight and what will happen to Carson she then crosses paths with an irresistable stranger. Although reluctantto get too involved as any future together seems impossible she soon finds out that it's never too late to fall in love or to realise there really is so much love to live for.
An inspiring commercial artist Alison Gertz was young white and upwardly mobile from a strong upper middle class family. She was heterosexual not promiscuous had never used intravenous drugs and had never had a blood transfusion. Yet her life and the lives of her family and friends are changed radically by her diagnosis as having AIDS at the age of 22.
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