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DIRECTED BY: Oliver Stone
FEATURING: Sean Penn, Nick Nolte, Jennifer Lopez, Billy Bob Thornton, Powers Boothe, Jon Voight
PLOT: Bobby Cooper, a man missing two fingers and toting a suitcase full of money, gets stuck in a ramshackle desert community while fleeing mobsters.
COMMENTS: About half a dozen times over the first third of U Turn, different people ask Bobby (Penn) what happened to his hand and then, upon hearing his repeated refrain of “an accident,” respond with the sage advice: “You should be more careful!” Bobby is indeed living the life of a careless man, as mobsters cut off two of his fingers after growing impatient with his failure to pay his debts. He’s now on the lam with a suitcase full of the mob’s money and a Ford Mustang. When he blows a radiator hose, he lands in the tiny desert town of Superior, Arizona.
Woe betide Bobby, who enters Superior like a mouse tossed into a rattlesnake terrarium. First, he’s ripped off by the town mechanic Darrell (Billy Bob Thornton as a bafflingly self-assured whacko who’s just bright enough to run a scam, but not a watt brighter). Then he loses his case of money in a store robbery. Next he follows local femme fatale Grace McKenna (Lopez) home and gets seduced right out of the shower, only to get punched by her husband, Jake (Nick Nolte), who makes things up to Bobby with a business proposal: help him kill his wife. (No worries, she’ll immediately flip the script.) But are Jake and Grace really lethal rivals trapped in a toxic marriage, or sadomasochist sickos who trick strangers into their badger games? How about the rest of the town, bristling with testy characters who want to start a fight with Bobby, or at least make him miserable? Sheriff Potter (lantern-jawed Boothe, sporting a five-thirty shadow) seems always on the verge of either saving Bobby from peril or locking him up, but one thing’s for sure: he knows more than he lets on.
What unfolds from all this is a pile-up of schemes and counter-schemes with Bobby trying (and mostly failing) to dodge incoming shots. All he wants is to get out of Superior in the worst way, yet an almost supernatural streak of bad luck thwarts him. The plot dutifully veers down a new hairpin twist every twenty minutes or so, with a pacing that suggests Alfred Hitchcock on a Palm Springs vacation. The eccentric characters of Superior prompt Bobby to exclaim, “Is everybody in this town on drugs?” A blind old beggar (Voight) who panhandles on main street becomes Bobby’s personal Jiminy Cricket, offering him half-mad advice culled from a very rugged life. Can Bobby maneuver his way through this thorny desert maze of scheming reptiles and escape?
This is one well-crafted movie with memorable lines and characters, a sure treat for noir fans. Stone occasionally slips into a bit of cartoonish editing, but dwells longingly on the captivating desert scenery. The camera intermittently cuts to shots of vultures, snakes, coyotes, scorpions, and other deadly desert predators, drawing clear comparisons to Superior’s citizens. As a former southwest desert dweller myself, your humble author can verify that U-Turn perfectly gets small-town life there: the run-down businesses, the eccentric oddballs, the harsh environment, and the philosophy that you’d better have a good survival strategy or you have no business being here. The cast does an outstanding job all around. Penn is perfect as Bobby, because he’s a bit of an asshole anyway—so you don’t feel much sympathy for his plight, allowing the film to linger in comedy territory.
U-Turn had a budget of $19 million (clearly going to its all-star cast) and only made $6.6 million, a complete flop. That’s a shame, because it’s well-done and Stone obviously poured love into it. But this is a very lightweight, almost fluffy work, with the whole film amounting to little more than a shaggy dog story (albeit one with a body count). Some fans might compare it to a southwestern version of After Hours. But that’s the one problem with U-Turn: it feels like filler between bigger and better films. It’s good popcorn viewing while it lasts, but hours later it rolls out of your memory like the cinematic tumbleweed that it is.
WHAT THE CRITICS SAY:
U:Turn
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