Desperate Hours


Action / Crime / Drama / Thriller

Rotten Tomatoes Critics - Rotten 40%
Rotten Tomatoes Audience - Spilled 22%
IMDb Rating 5.4 10 5905


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May 24, 2015 at 06:57 AM



Mickey Rourke as Michael Bosworth
Anthony Hopkins as Tim Cornell
Kelly Lynch as Nancy Breyers
Shawnee Smith as May Cornell
720p.BLU 1080p.BLU
806.53 MB
23.976 fps
1hr 45 min
P/S 1 / 4
1.64 GB
23.976 fps
1hr 45 min
P/S 2 / 3

Movie Reviews

Reviewed by travisbickle86 8 / 10

See through the sloppy editing and studio mutilation, and you'll find Cimino's art.

With the clouds running through blue skies and the majestic mountains ever present you'll know Desperate Hours has American maverick, Michael Cimino at the helm. There are few auteurist directors who have this ability to impose themselves on an audience with the 'look' of their film stock within the first few minutes. Kubrick, Bergman and Tarkovsky come to mind, of course.

Sadly, we are yet again left trapped between a conscientious artist trying to feed us caviar while the studio chew up some cardboard and spit it out:

'According to some official sources, Michael Cimino's original cut of Desperate Hours was mutilated by the film's producers, resulting in a very badly edited film filled with plot holes. The only known proof of any deleted scenes are some stills which seemingly show a few of them.'

It's sad to think Cimino didn't have the chance to re-cut this film like with Heaven's Gate. Still, the acting is fantastic; Mickey Rourke was at the height of his powers here. There is humour thrown between the tension; some of the more subtle exchanges and glances between the characters are masterful. Like in the 1955 version, there is subtext referring to class, and references to the changing nature of American society. Cimino also references the influence of advertising, although the theme is never developed (thanks again to you-know-who!) As Rourke's Bosworth spews out:

'That's why America is becoming a second rate country!'

The editing by Chris Rouse/Peter Hunt is a mess. Choppy and careless. The ending sees the most obvious intervention by the bean counters. I could almost hear the argument between director and producers during the closing scenes:

'Give me more time. This doesn't make sense. There must be at least some character resolution!'

'No, Michael You've spent our budget. Don't mess with us, we're not United Artists. We'll tell the press!'

For years I had avoided watching Desperate Hours based on the reviews; but if you are a fan of Cimino, it is easy to see past the choppy edits and plot holes. The cinematography is often a joy, as is the direction of the fantastic cast, costume/set designs and cars. At times I felt like shouting out 'Michael, you spoil us!' because you don't see many filmmakers today who are allowed to treat their audience as adults.

Thank you Michael. RIP

Reviewed by NateWatchesCoolMovies 6 / 10

Cimino and Rourke play the hostage game

Michael Cimino's Desperate Hours, despite only really being a serviceable home invasion/hostage thriller, still has a lot of fun with it's two leads, brash sociopath Mickey Rourke and even brasher estranged family man Anthony Hopkins. Based on a creaky old Humphrey Bogart film, Cimino obviously vamps up the violence and eroticism that simmers beneath it quite a bit, and when you have Rourke as your antagonist you know it's not going to be anywhere near a relaxed affair. He plays Michael Bosworth, a dangerous felon on the run with two other goons, his volatile brother (Elias Koteas) and another creepy lowlife (David Morse). He crashes into the home life of Tim Cornell (Anthony Hopkins) a boorish father visiting his wife (Mimi Rogers) and children. The film mainly takes place inside the house, as the creep factor rises along with the threat of blaring violence which we know will come, made all the more likely by the growing police presence outdoors, and the tensions of everyone involved, threatening to snap at any moment. Rourke walks a tightrope between amiable and unstable, a man sure of himself, who always gets his way, and is capable of bad, bad things if he feels he won't. Hopkins plays Cornell as a man used to being in control, but his inability to hold his family together is made worse by the gang's arrival, rubbing salt in an already festering wound. Cimino has a brawny style to his violence, a trademark that's seemingly born of both De Palma and Peckinpah, rich bloody gun battles and accentuated slow motion death scenes. Most of the film is held back, but the flood gates do eventually open and action hounds will get what they came for. Watch for Lindsay Crouse, Kelly Lynch, Shawnee Smith, James Rebhorn and Dean Norris as well. Not groundbreaking in the least as far as thrillers are concerned, but still an entertaining little piece made memorable by Rourke and Cimino's ever interesting pairing.

Reviewed by videorama-759-859391 8 / 10

Let yourself loose, for some enteraining hours

Desperate Hours is a film that makes itself bigger than it is. Have I written that starting line in another review? I do like those movies, though. Just learning this is a remake, again I'm a bit embittered, as I thought this was a true blue original. I love this movie, every time, I see it, and yes there are some faults, and some real idiotic moments, really picking them out this time, but hey, that just adds a funny element to this movie, that didn't garner a cinematic release in Adelaide where instead, it played in a film festival showing at the State Theatre, Zandalee was also another. Following a court trial, convicted killer Michael Bosworth (Rourke, very good) absconds with two accomplices, one his ex con brother, Elias Koteas who doesn't have much to do in the film, and his childhood friend, ex con Albert, David Morse as we've never seen him before, a slow, fiesty, idiot of low intellect. His dying scene, is just another bombastic moment, but it's funny, tragic, and memorable. Part of this goes to the opening of the music score. The three crims, yeah for some reason, hold out, in the expensive confines of a well to do family. And it's not the really best time to be dropping in, or not? You'll find the real answer at the end of the film. The house is maintained by Nora (Mimi Rodgers, strong as always) and her teen daughter Shawnee Smith, really good and her little brother. She's separated from her much older ex, Hopkins, who's a real provider for the family, as well as being a responsible father, who, if you can believe, has been busy chasing young skirts half his age. Good for him. Then Rodger's family peace, is rudely and silkily invaded by Rourke, and company. Rourke plays such a smooth psychopath, who's very intelligent, and you don't know when he will lose it. He's made his character intriguing, though he has done better acting. How intelligent is he? Hey, he let Hopkins go by himself, to withdraw, a substantial amount of moolah, from the bank, while they stay holding court, risking the possibility of Hopkins, informing authorities, trusting him that much. I pondered that scene, when judging Rourke's manipulative, edgy, psychopathic character. That's exactly what you'd do, if you were dealing with that particular psychopath. You wouldn't tell authorities. And as for them crashing this family's home. Yeah wheels are turning, right? But think about how high profile, Bosworth is, and for him to escape, you pretty much would have to take shelter somewhere, a place, where the cops wouldn't automatically assume he's hiding. But we have another smart cookie, Crouse, the best performance in the film, as the defiant and bulldogged female FBI agent, heading her team of cops, sharpshooters, baiting Rourke by using his defence attorney/girlfriend, (Lynch, never looking hotter). The film relies on the interaction of characters, and I must say, I found this best, in the small exchange of hateful dialogue, between daughter (Smith) and Rourke. That worked much better than what transpired between him and Hopkins. There was no real chemistry at all, no real spark, which kind of annoyed me. Something you don't want happening between two leads. I really wish Koteas had a chance to do more, where he really bloodies it up in the end. DH may have it's share of faults, and is quite disfavored I see, but it's also bloody entertaining and to a point, unintentionally funny. Love film's opening score, and it's speeding car shots and masterfully breathtaking. Like a few of these hostage, mostly one set piece dramas, DH doesn't have the most tense atmosphere, as these others, but may'be I didn't feel like this, the first time I saw it. But I really understand the reasons for some of the character's actions, where other reviewers may think, "As if". May'be this could be the most misjudged thing about the film.

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