Patric's character refers to Lex as "the limey" at one point, as if this movie's echoes of Steven Soderbergh's 1999 thriller weren't already obvious. Director Brian A. Miller, who co-wrote the script with Fairbrass, clearly was trying to make that sort of modern-day film noir, the kind that lurks in the seedy underbelly of L.A. His interiors are full of smoky light streaming through half-closed blinds, and his (many, many) aerial shots of the city aim to depict it as a vast, glittering wasteland. (His geography is distractingly mangled if you know how the freeway system here works, but that's the least of the film's problems.)
Reviewed by: Imagic Moments: Indigenous North American Film by Lee Schweninger Shirley K. Sneve Imagic Moments: Indigenous North American Film. By Lee Schweninger. Athens: University of Georgia, 2013. xi + 247pp. Illustrations, works cited, index. $24.95 paper. Much has been said over the years about the lack of Native Americans in the movie business. Iconic classics like Dances with Wolves, Little Big Man or A Man Called Horse have Caucasian men as the central character. Through their eyes, we get a glimpse into Native American culture, but it is through the lens of the outsider.
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