LeonLouisRicci Ambitious in its use of Gay leads (no overtones here, completely in your face), period setting, and crazy goings on. The Movie starts sort of weak with overacting by the three teenagers wildly flailing about and trash talking incessantly. But once our two ferry-land psychos enter, the thing sort of becomes entertaining in a low rent hoodlum kind of way.Although it goes to some length to be 1950's kitsch some of the props look like modern thrift shop and antique store borrowings as they are worn out and do distract somewhat from believability. But that is a minor quibble because things do perk up and turn into some fun.The convoluted plot and some of the explanations of some of the behavior develop confusion, it is the violence and the Gay behavior of the characters that bring this home with a different feel and is a near winner despite some of its missteps. This is one of Stephen Baldwin's best performances and Mickey Rourke is, well the always interesting Mickey Rourke.

Cristi_Ciopron This better than average, this rather good and interesting '94 action drama has a good subject—the story, though, was not well written, it's underdeveloped, and the scenes are badly managed. But the movie is not necessarily bad or stupid, and it's not the worst thing that Rourke made in the '90s. It belongs to the second segment of his '90s output ('94—'96, i.e. before the truly awful part—the Double Team (1997)\ Love in Paris (1997) segment).(In my vision, Rourke's parts during the '90s can be divided chronologically into four groups, or tendencies.)Rourke's part in Fall Time is basically the same character he has in Shergar (1999), Out in Fifty (1999), Get Carter (2000), Picture Claire (2001) (but this category could include also his more upper—class and pseudo—sophisticated villains, like those from earlier films like Desperate Hours (1990), White Sands (1992) and Last Outlaw and Double Team ). His character in "FT" is a pretentious thug, and Rourke plays it with his baroque gusto for twisted compositions. Unfortunately the script is quite poor and his role almost small. Rourke makes here an extravagant apparition, that comes from Brando's extravagant entrances in the '60s (this extravagant aspect was well commented, in Brando's case, by Hopkins). Rourke and Brando have both the taste of these striking extravagant entrances.Such apparitions are meant to delight by themselves, by their mere power and appeal—this works well when the whole movie is directed towards this, or works in this special direction,or is meant to achieve such a thing (as in Desperate Hours (1990) or Harley Davidson and the Marlboro Man (1991) or maybe even in The Last Outlaw ,1994) ;but when the movie sets itself up for an entirely different thing, they seem not to belong to that movie—they seem heterogeneous and useless and not in keep with the meaning of the film.We might note here that intensity and extravagance of this sort are different things. For a good _etalon ,see Hopper who makes intense but not strikingly extravagant roles.Rourke's apparitions like the one in the movie we are discussing might interest me, who am a Rourke fan and interested in seeing a Rourke role, a Rourke specimen ;and for me, it's meaningful; but they will not interest, or will fail to interest people who just want the movie for itself, who just want this particular movies on its own terms. Like Brando, Rourke tends to subordinate the movie to his own role; sometimes, if the role is suited and well written, this will work; sometimes, it won't. Fall Time is better than Double Team (1997), Love in Paris (1997), Point Blank (1997), Shergar (1999), Out in Fifty (1999),and maybe even than White Sands (1992) (where, anyway, Rourke's own role was junk).

John Seal Fall Time is an incredibly absurd crime drama that fails on most levels. David Arquette, Jason London, and Jonah Blechman star as three teenage lads who decide to play a prank on the grownups in their boring 1950s backwoods town. Normal, run of the mill teens would TP town hall, put itching powder in the school principal's undergarments, or short sheet each others beds. These bright sparks decide to stage a phony assassination outside the local bank, where, just by chance, two real cons (Mickey Rourke, who phones in his performance, and Stephen Baldwin) are about to hold up the joint. The prank and the robbery go the way of a Reese's Peanut Butter Cup ("you got your practical joke in my two-bit heist!" "No, you got your two-bit heist in my practical joke!") and mayhem, torture, gunplay, and a homo-erotic subplot take us the rest of the way. Though someone clearly spent a lot of time making sure the period details were right, someone else--presumably screenwriters Steve Alden and Paul Skemp-- larded their absurd story with too many handy dandy coinkidinks. The film also suffers from a portentous score from composer Hummie Mann, which elevates the final scene--involving a fresh baked pie from good ol' Mom--to the overdone levels of a Richard Harris and Jimmy Webb collaboration. Fall Time also features the world's least believable sex scene (involving Sheryl Lee). This is one of those American indies that thinks it's being deep, but merely buries itself in pretentious tomfoolery.

darko2525 Rebellious post-high school buddies Tim (Jason London), Dave (David Arquette), and Joe (Jonah Blechman) are in the middle of their last summer together. Tim is off to college in the fall, and wherever the other two wind up, it will not be in the same place he will be. So the three of them, the bored threesome decide to pull of their most elaborate prank of all time. The plan is simple. Tim, all decked out in a nice suit that makes him slightly more than conspicuous in a small town like Caledonia, Wisconsin, will stand on a street corner near the bank, while the other two pull up fast in their black Buick (stolen from Dave's cruel father) and pretend, with blanks, to gun him down in the street, toss him into the trunk and speed away. After this reports about the Buick will be all over the news, and Dave's father will have a heavy dose of explaining to do. But while they plan the lark, ex-cons Florence (Mickey Rourke), and Leon (Stephen Baldwin) are planning to rob the very same bank. When the boys mistakenly abduct Leon (who is dressed in a suit similar to Tim's), and in effect, foil the crime, the stronger Florence immediately hunts down the suspicious Tim, and strong-arms him into assisting in the heist without Leon. Leon, meanwhile, once out of the trunk, easily detains Dave and Joe, and begins a paranoid investigation of their true motives before forcing Dave to reel off a conspiracy tale about himself and Florence, exactly what the very edgy Leon wants to hear. Leon, who is shown through his homosexual relationship with Florence (which began while the two served time) as being subservient and pliant, explodes when given the opportunity to call the shots for the two young boys, and becomes unhinged to the tune of torturous interrogation scenes that are almost too emotionally painful to watch. What follows is a violent, icy depiction of loss of innocence in the Eisenhower America, which ends the only way it can, with bodies on the floor. Though the film, made in 1995, was denied a theatrical release by co-stars bickering over billing, director Paul Warner spins a tightly wound tale of a adolescent joy-ride that goes awfully wrong. And perhaps the most interesting spin on the script is the parallel between the subservient relationship of Leon to Florence to the hero-worship Joe holds for Dave, and even paralleling Leon's treatment of the boys with the relationship of Dave to his father. This amounts to a perverse little twist of script that Freudians would love, where the two criminals do serve to provide a sort of perverse fathering of the children. The young cast is outstanding, exuding the requisite disbelief and innocence we expect from these boys. A particular standout is Arquette, who I previously did not feel could act his way out of a paper bag. Mickey Rourke is absolutely chilling as Florence, and Baldwin gives perhaps even a better performance than he did in The Usual Suspects, an absolutely brilliant turn as the explosive Leon. In all, Fall Time is a very good movie that snuck through the cracks, and is well worth a look if you can find a copy.