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Powerful

In truth, there is barely enough story here to make a film.

Blistering performances.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

This was undoubtedly one of the worst movies I have ever seen. To see talented, intelligent actors like Ron Silver, Rebecca DeMornay, and Mariska Hargitay caught up in it was all the more appalling. The best that can possibly be said about the film is that DeMornay looks beautiful on screen. I cannot discuss how dismally bad a movie this is without summarizing what happens. I try to stick the main story line, without giving away certain details.The movie begins with a "happy scene" of husband and wife Doug and Lynn Kaines (Silver, DeMornay) wrapping up a Mexican vacation, preparatory to moving their specialty furniture-making business south of the border. They head home to the U.S., driving to the border at night on a lonely, isolated road. Disaster strikes when a man staggers out of the fog in front of their car. The man bounces off of the windshield and into a ditch. After checking to see that he looks dead, with his "brains coming out of his head," the couple drives off.There follows nothing more than a steady stream of cliché, melodramatic, and extreme ways to torment these two people. It is all done for cheap effect, without any larger purpose or meaning. It is unpleasantness for unpleasantness sake. Plot details about the killing in Mexico, which are injected at various points, seem almost beside the point.First, there is a trumped-up scene at the border where guards become hostile and then just walk away. Next, the couple bickers, has stagey, protracted nightmares or daydreams, and generally wallows in guilt about the hit-and-run. For example, a scene with the couple behind the wheel while their vehicle goes through a car wash drags on endlessly, capped by the ugly image of a somehow still-bloody eyebrow becoming dislodged from the windshield wiper.Then, mysterious hulking stranger Jake Shell (Rutger Hauer) arrives. He has vacant expressions and vague, clumsy speech that are supposed to be sinister but quickly become a mannered, exaggerated, annoying, and time-wasting gimmick. Shell aggressively tries to insinuate himself into their home and business by dropping hints, over and over again, that he has come up from Mexico and knows about the accident.The couple makes tedious, pointless attempts to drive him away, such as a wasted scene with a lawyer, or to keep him close at hand. Apparently for the sheer sake of it, Shell escalates his activities to whatever sick, vicious, sadistic behavior the writers can think of next to throw in with the kitchen sink. When the couple's showroom employee Hargitay, acting like a ditzy moron, goes with Shell to his apartment on a date, he brutalizes her during exaggerated "kinky" sex, causing her to quit. Shell makes hammy, "weird" advances toward DeMornay, including surprising her in the sauna. Her pregnant character loses her baby. Silver is beaten up. In a particularly degrading scene, Shell helps himself to a videotape of the couple making love and then taunts them about it."Happy music" returns when it looks like Shell has accepted money to leave. Not for long. More advances, abuse, and beatings. Shell invades the Kaines' home, with a floosie in tow, trashes the house, shorts out the wiring on the sauna trying to raise the temperature to boiling hot, and forces the Kaines to listen all night to his raucous sex.The last 15 minutes degenerates into nothing but a continuous brawl and shoot-out. Shell becomes a Frankenstein monster that nothing can stop -- not punches, not objects broken over his head, not a fall from a second-story window, not a wound to the chest, not being immolated by flames, almost not by electrocution.In one of the worst scenes I have ever seen in any movie, Shell takes a break from the intimidation and fighting to leave the house momentarily to go to his camper-truck. He returns to the house, framed in the front doorway, lit from the back with what looks like fog all around him, dressed like a cowboy with two six-shooters, the camera often zooming in on his eye next to a bloody gash on his head. Silver and DeMornay have to stand there for humiliating reaction shots. Shell proceeds to fire all around the couple, shattering lamps and windows and setting the house ablaze. When Shell himself is consumed by flames, he goes flailing out to the sauna and dives in. This creates a chance for some final embarrassing lines from DeMornay to Shell, with Silver lying wounded nearby: "You want this?" she says, tearing off one of several layers of clothes, "You afraid of me?" Shell resumes shrieking and firing bullets, even while going into wild convulsions when the couple team up to clumsily and obviously toss an electric lamp into the sauna. Sirens blare in the background (where were the neighbors through all of this?). With the house burning down, the movie fades to the credits, as if to say all the movie leaves behind is a heap of ashes.All of the torment, violence, and sexual content is exploited for nothing more than empty, mindless, voyeuristic shock value. The movie is not even true to its convictions in exploiting the sexual content, which makes it lame and incompetent on that level, too. There are numerous scenes with heavy-handed sexual overtones, but the only nudity (even in the so-called "Unrated" version) is a brief topless shot of the least-known actress, Tara Clatterbuck, in a frivolous scene. Nor is the movie original. It is a cheap formula rip-off of films like Cape Fear.This movie was a tedious, trying, insulting, offensive disaster. That some reviews try to pretend otherwise is a pathetic example of just how low standards have sunk. When the only problem an otherwise breathlessly enthusiastic review sees in a movie like this is that a character calls the couple's Ford Explorer a "jeep," something is terribly wrong.

This film has a unique quality in the way the story is layed out before us. Imagine an optimal pace of the film and then slow it down a bit. In other films this would be a drawback because you would feel bored, but here the superb dialogs between characters create so much suspense that you will be far from bored and the slightly slower pace of the film will create a tension that you will physically experience in every muscle as you sit on the edge of your seat and watch the story unfold. This film shows us how when you feel guilty about something, everything you hear sounds like a prosecution. Otherwise this would be just one more of those nothing-special films, but the subtle insinuations in dialogs and an excellent cast led by Rutger Hauer make it a masterpiece. It feels as if everyone involved in its creation did a perfect job while at the same time being careful not to overdo it.This is why I rated this film 10 out of 10.

This is the story of a couple who own a furniture business. Heading home from surveying the future site of their plant in Mexico, they hit a Mexican policeman. Since neither look forward to the rumors surrounding life in Mexican prisons, they decide to quietly head back to California. In other words, they're guilty of hit and run. Thinking they're safe, and admitting the events only to their lawyer, they are suddenly greeted by a stranger who also claims to have arrived from Mexico (Rutger Hauer). The couple believe that he is a witness to their crime and want nothing more than to either get rid of him fast, or keep him quiet with bribes, never trying to let on too much that they know what he's referring to with the numerous hints he drops. But, the stranger has an upper hand in the situation that the couple never accounted for.I would be reluctant to compare this film, as other viewers have, to Unlawful Entry because of one major difference: the couple themselves were guilty of a crime (to an extent) whereas the couple in Unlawful Entry had actually committed no crime that caused them to be pursued by their crazed assailant. All three main characters in Blindside (Ron Silver and Rebecca DeMornay, who play husband and wife, and Rutger Hauer, who plays the suspicious stranger) are all working around a strategy and a motive because, as is soon revealed to them all, both the couple and their exceedingly weird stranger have good reason for suspicion. The plot, too, is not immediately predictable from beginning to end as it is in Unlawful Entry, but rather, saves most of its crucial mystery until the latter part of the film when the couple must decide how to rid themselves of the stranger. Because the couple are also tainted by their hand in a crime, you are not immediately sympathetic of them, but you may also be initially suspicious upon Hauer's arrival. And, once his true motives are revealed and the crime's events finally given a clear picture, you're strategy changes as well with regards to the characters. It was done rather well.Asside from Rutger Hauer's incredible weirdness (the synopsis on the box mentioning "bizarre sexual habits," the least of which actually contribute to his creepiness), this made-for-TV thriller may be worth renting. You can at least count on a decent cast as well as a nice constructed story that borders on the hitchcockesque kind of finale.

Blind side is a copy off of 1992's unlawful entry. But is still worth viewing. Rutger Hauer gives his best performance since the Hitcher. It's a story about a guy who stalks a couple who just can't get rid of the stranger. Same story as the movie unlawful entry. Except the stranger in that movie was a cop. Blind side is worth viewing.