In 1949 composer Roman Strauss is executed inasmuch as the brutal lay low of his helpmate Margaret with a twins of scissors. In 1990s Los Angeles a mute amnesiac woman shows up at an orphanage and private eye Mike Church is called in to investigate. High hypnosis both the woman and Church have all the hallmarks to have a strange link back to the Strauss murder.
Branagh and Thompson move out to Hollywood for this batty, Branagh-helmed thriller involving an amnesiac woman, a cynical detective and the unfathomable lifetime lives that link them both. Loved and loathed in congruous measure, your appraisal of this coating will depend on how you feel about proportionate plots (one in baleful and white, coming across like a monochromatic Phantom of the Opera), Andy Garcia in wrinkly disclose-up talking a trach and trumped-up Grand Guignol climaxes involving oversized scissors and errant pizza transportation. It straddles a fine line between genius and folly.
Tricksy thriller, switching between past and up, which is many times too dexterous as a replacement for its own good.
The offer is distressed because the sometime is defective in Kenneth Branagh's determinedly early-fashioned thriller in the to be funny-in-stylishness Hitchcock tradition. He's a cynical LA unsocial detective hired to fact-finding the background of amnesiac mystery lady Emma Thompson, who's obsessed nigh scissors and tormented about nightmares from someone else's passion. An enjoyably overdone, stylish compound of cloud noir trivia, eccentric plotting, gender-bender twists and razzle-dazzle turns number one Branagh's darkly delicious reincarnation parody will care for you guessing exact up until the deliriously OTT finale.
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