Street of No Return Reviews

  • Jul 07, 2012

    [url="http://www.rottentomatoes.com/m/street_of_no_return/dvd.php?select=2"][img]http://images.rottentomatoes.com/images/movie/coverv/41/212641.jpg[/img][/url] A beautiful nude scene, two really, that showcases the fantastic body of Valentina Vargas. Very strange film, the last one made by Sam Fuller, but enjoyable for reasons that are quite unexplainable. Camera work is close and choppy, nicely done. Worth viewing.

    [url="http://www.rottentomatoes.com/m/street_of_no_return/dvd.php?select=2"][img]http://images.rottentomatoes.com/images/movie/coverv/41/212641.jpg[/img][/url] A beautiful nude scene, two really, that showcases the fantastic body of Valentina Vargas. Very strange film, the last one made by Sam Fuller, but enjoyable for reasons that are quite unexplainable. Camera work is close and choppy, nicely done. Worth viewing.

  • Jul 07, 2012

    Street of No Return opens on a dark, grimy street where we witness Michael (Keith Carradine), a grizzled street bum who is intoxicated by the allure of the liquor store across the street. Standing in his way of his dreams of drunken bliss is a barrage of street violence, which seems to be heavily race related. Samuel Fuller's last film as a director is a low-budget film about Michael,a rockstar, who experiences a fall from grace after entering in an affair with Celia, a woman who happens to be the mistress of a ruthless crime boss (Marc de Jonge). Fuller's raw style of filmmaking is apparent, but this film has an added element of surrealism and experimentation which isn't all that typical in his work. It definitely has its fair share of 80's cheese, but if you can get past that, it's really a well-made film that has some interesting things to say about race and urban living, though not incredibly deep. The visual's are very expressive with lots of good examples of visual storytelling through compositions, positioning and camera movements. Anyone familiar with Fuller's work will know that subtlety isn't exactly his strong suit, and this film is no different. A few of the smaller character's performances are borderline bad, but the lead performance of Carradine is solid/strong and it's fun to see Bill Duke as Lieutenant Borel, a headstrong, no-nonsense captain whose very driven to clean the scum off the streets. Low-key but quite effective in it's imagery, Fuller's last film provides an adequate send off to one of the brashest filmmakers of all time.

    Street of No Return opens on a dark, grimy street where we witness Michael (Keith Carradine), a grizzled street bum who is intoxicated by the allure of the liquor store across the street. Standing in his way of his dreams of drunken bliss is a barrage of street violence, which seems to be heavily race related. Samuel Fuller's last film as a director is a low-budget film about Michael,a rockstar, who experiences a fall from grace after entering in an affair with Celia, a woman who happens to be the mistress of a ruthless crime boss (Marc de Jonge). Fuller's raw style of filmmaking is apparent, but this film has an added element of surrealism and experimentation which isn't all that typical in his work. It definitely has its fair share of 80's cheese, but if you can get past that, it's really a well-made film that has some interesting things to say about race and urban living, though not incredibly deep. The visual's are very expressive with lots of good examples of visual storytelling through compositions, positioning and camera movements. Anyone familiar with Fuller's work will know that subtlety isn't exactly his strong suit, and this film is no different. A few of the smaller character's performances are borderline bad, but the lead performance of Carradine is solid/strong and it's fun to see Bill Duke as Lieutenant Borel, a headstrong, no-nonsense captain whose very driven to clean the scum off the streets. Low-key but quite effective in it's imagery, Fuller's last film provides an adequate send off to one of the brashest filmmakers of all time.

  • Bruce B Super Reviewer
    Mar 22, 2009

    This is the last film Samuel Fuller's made before his dead. Who is Samuel Fuller, well he is one of the best Grindhouse Writers and Directors, as good and should have been as well know as Hitchcock, except that his stuff was grindhouse Art house type movies. This one was made in Portugal and stars Keith Carradine, who is a rock star his only problem is he falls in love with the wrong girl and a mob boss has Keith's throat cut for payback for messing with the wrong girl, so he becomes a drunken bum. During the film we see riots, cop chases, the works, but in the end the guy gets the girl. On the Grindhouse Scale its 4 stars but on the normal everyday movie watcher 3 1/2. I was lucky to find this one brand new in a pawn shop. And I thought Christmas Came in December. Again a great film for Grindhouse / Shock Cinema / Drive inn Movie Fans, all others if you don't know what Grindhouse is, its time you did, so do some research.

    This is the last film Samuel Fuller's made before his dead. Who is Samuel Fuller, well he is one of the best Grindhouse Writers and Directors, as good and should have been as well know as Hitchcock, except that his stuff was grindhouse Art house type movies. This one was made in Portugal and stars Keith Carradine, who is a rock star his only problem is he falls in love with the wrong girl and a mob boss has Keith's throat cut for payback for messing with the wrong girl, so he becomes a drunken bum. During the film we see riots, cop chases, the works, but in the end the guy gets the girl. On the Grindhouse Scale its 4 stars but on the normal everyday movie watcher 3 1/2. I was lucky to find this one brand new in a pawn shop. And I thought Christmas Came in December. Again a great film for Grindhouse / Shock Cinema / Drive inn Movie Fans, all others if you don't know what Grindhouse is, its time you did, so do some research.

  • Sep 18, 2008

    It has it share of Samuel Fuller moments, beginning with a close-up of face getting hit with a bottle. Oh, and someone gets shot in the balls. Still, this is an awkward and fascinatingly bad film-- badly acted, badly scored, and so oddly spatialized in its mise-en-scene to come off as surreal. It is, I suppose, some sort of ungodly amalgam of trashy European cinema, dated 50's noir, and typical Fuller melodrama. Truthfully, I don't know what to make of it, but I probably rather watch Shock Corridor or The Naked Kiss again before rewatching this.

    It has it share of Samuel Fuller moments, beginning with a close-up of face getting hit with a bottle. Oh, and someone gets shot in the balls. Still, this is an awkward and fascinatingly bad film-- badly acted, badly scored, and so oddly spatialized in its mise-en-scene to come off as surreal. It is, I suppose, some sort of ungodly amalgam of trashy European cinema, dated 50's noir, and typical Fuller melodrama. Truthfully, I don't know what to make of it, but I probably rather watch Shock Corridor or The Naked Kiss again before rewatching this.