Subject: I have found a DVD that I think you would enjoy
|Romeo is Bleeding|
Actors: Gary Oldman, Lena Olin, Wallace Wood, Juliette Lewis, David Proval
Director: Peter Medak
Genres: Indie & Art House, Drama, Mystery & Suspense
Gary Oldman delivers an uncanny performance (The New York Times) and Lena Olin is 'the most astoundingly vicious and sexy female villain in movie history (Variety) in this spine-tingling, erotic film about a crooked cop... more »
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Member Movie Reviews
Mark H. (djmark) from LOMITA, CA
Reviewed on 12/3/2014...
This is an amazing film, and sparked my Lena Olin fetish.
2 of 3 member(s) found this review helpful.
Mark G. from SPRINGFIELD, MA
Reviewed on 12/2/2014...
Great story about a cop who invisions himself as a "Romeo," and chooses to live his life immorally because he can never get enough money. It is well told, very violent, with some subtle humor. Great cast led by the very talented actor, Gary Oldman.
2 of 2 member(s) found this review helpful.
Cutting of Crucial Scene Ruined Movie For Me
Zarah Mayes-Orowitz | Chicago, IL United States | 05/15/2006
(3 out of 5 stars)
"Romeo is Bleeding could have been a quintessential new film noir classic. The plot line was thrilling, and Lena Olin was particularly mysterious and devious as the Russian hitwoman. Needless to say, Gary Oldman's performance was stellar as the duplicitous cop. However, the DVD version cuts a very crucial scene. I saw this movie at the theatre when it was released. There is a scene in which Gary Oldman shoots Lena Olin in the arm before putting her in handcuffs; instead of going to a hospital, they get into a fight. While he's driving, she's in the back seat of the car attacking him with the only weapons available to her at the time--her legs. Eventually Gary Oldman crashes his car, and Lena Olin runs away from him (handcuffed, no less),then, rather than go to a hospital, she retreats to her apartment where she cuts off her own arm with a power saw. This scene was brutally shocking, but it augmented the sinister dynamic of Lena Olin's character. More importanly, it explained how she became armless. This was the kind of scene that put the viewer on the edge of his seat anxiously awaiting the unfolding of the next event. Cutting that particular scene caused major incongruity because when Gary Oldman and Lena Olin crash the car, she fights with him and then runs away, hands cuffed behind her back, and at that point, the movie immediately cuts to a scene in which her arm is missing, with nothing in between--no explanation for the missing arm. Anyone who hasn't seen the movie before is going to be confused. The viewer will be left wondering what the heck happened to her arm. This will leave you very frustrated because for the remainder of the film you'll be wondering how she became an armless hitwoman. That was one scene that should not have ended up on the cutting floor. The film editors made a huge error in judgment.
One of the best examples of Noir
J. Gabriel Estrada Quintero | Mexico City | 03/13/2000
(5 out of 5 stars)
"What this great film shows is how much some viewers THINK they know about noir-cinema but how little they really do. This film is one of the few that'll make you say Wow! when you just finish it. Not only because of Olin, Gary Oldman makes his part so well that it's almost impossible to imagine somebody else in it. This is really one of the best and most interesting pieces of film noir (which means getting deep down the darkest human feelings and being able to show it on the screen) and that you'll be able to see in a long time. To compare it with such an overrated piece of parafernalia like Pulp Fiction is to show how little you understood or what a small number of noir films you have seen. Rent it, watch it, own it -you'll thank Mr. Medak for it."
Eerie, moving, terrifying
Volunteer of America | Austin, Texas | 02/21/2005
(5 out of 5 stars)
"Most of the aspects of this film have been well covered in the other reviews; Gary Oldman's character, etc. Although the plot is occasionally lacking in continuity, one can easily fill in the gaps. I did want to mention the extraordinarily atmospheric music by Mark Isham, especially the closing piece; where you can hear the groaning and moans of the film's demonic beings - Jack, a relatively ordinary soul, finding himself in a world peopled by devils in human form like Mona DeMarkoff and Don Falcone. Another point: Jack Grimaldi, Oldman's character, is the name of a famous circus clown; I wonder if that was intentional. The dreams, the Hole, Olin's insane laughter, the shots of the dead in the swimming pool and the FBI agents ("those Feds didn't come out too good...") sprayed by DeMarkoff sprawled in the bloodstained room as the light fixture swings back and forth, Nick Gazzara's "stank like a m*thaf***! Hahahahahahaha", Oldman's introduction at the Holiday Diner; for me, this film contains a great many moments that are extraordinarily atmospheric, poignant and original. And terrifying."