hyped garbage

It's entirely possible that sending the audience out feeling lousy was intentional

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Mr. Rupp is a very a skilled and professional actor. I look forward to seeing Mr. Rupp's productions, and go out of my way to search for productions featuring Veryle Rupp. I hope to be able to see more of V. Rupp in the future. Mr. Rupp is the best new and upcoming actor that I have witnessed in quite some time. I am curious why the acting guild has not used his obvious talents more? Please see what you can do to show more of Mr. Rupp's talents in the very near future. Mr. Rupp is an obvious "Overlooked Diamond in the Rough". Mr. Rupp appears to have all of the Charm, and Good looks that any Actor possesses. Please keep me informed of any new productions which Mr. Rupp is part of and again I thank you for your assistance.

This is a film I have wanted to see since it came out. It was my belief that the film went straight to VHS, with no cinematic release. Having read the notes here on IMDb, I now see it had a limited release.From memory, the film was not very well received. The cast is quite diverse. We see Randy Quaid, Madonna, Jennifer Grey, Julie Hagerty, Rutgar Hauer and Matt Dillon, to name just a few. It must be said that both Grey and more so Hauer are greatly underused.The film start badly with a musical number with the main singer clearly singing something completely different. This is listed as a musical but it is far from it. Looking at the credits, there are four listed: I can only remember two! Having said that, the duet where Madonna & Jennifer Grey sing 'I Surrender, Dear' is really a stand out moment. Even then, there voices don't quote fit the song, until the last note where they combine beautifully.The one thing that makes this film fail for me is that the 'music' soundtrack in the first twenty minutes and occasionally throughout, is way too loud. I had great difficulty hearing what the actors were saying at times. I know the answer would be to bring up the subtitles but sadly I was watching this on a obscure UK channel called 'Movie Mix'. It really did make me lose interest early on.Another thing I feel worked against the film was that, as the opening titles were in black and white, I feel the film would have worked better as period piece if it had stayed in black and white. Though there are certain shots that work in colour, there are not enough. Even the fake snow was annoying. At one point you could clearly see that it was just foam! It irritated enough that you could even picture the sound effects man, faking the sound of walking in the 'snow'.I must say as the film moved into its latter stages, I did find it slightly more interesting. When I worked out what the hell was going on and finally could hear the actors, I did start to care for the characters. I guess I should take into consideration that this is the first film I have reviewed here that I have never seen before. Perhaps this needs another viewing, though I am not going to rush to do that.As I stated earlier, Hauer was underused. Grey didn't seem to fit at all. At one point when she is confronting someone gives the look that she is about to fall into another character completely and quote something from Dirty Dancing. Madonna was wooden to begin with but grows likable as the movie progresses. I could go on but the film just doesn't come together that well. By the time it does, the film is over.Interestingly, there is a film of the same name that was made in 1952. Though it has no direct link to this film. They are both based on four different Damon Runyon stories. As a footnote, yes this is worth a watch but with the subtitles on!

If you like the jargon and swagger of "Guys & Dolls," you should enjoy "Bloodhounds of Broadway," another collection of Damon Runyon stories pieces together to make an ensemble film, without quite as much music. This one unfolds much like a three-act play. The first act takes place during the day on December 31, 1928. The second rings in the New Year and the third shows our characters meeting their (mostly) happy endings the next morning. The fact that 1929 will not be universally kind to all of them adds a bittersweet note to the final frames. Madonna has a small role, and it's not her finest performance, but saddled with the clichéd "showgirl with a heart of gold" character, she does well, and her final moments with co-star Randy Quaid are charming. Quaid himself gives a marvelous performance, as does Julie Hagerty as a "society dame" who'd rather be a gun moll, and Rutger Hauer as a dying gangster in an effective and underplayed morality story.

Hmmm, unreleased, huh. This film might be the At Long Last Love of gangster musicals. From a Guys and Dolls perspective, BLOODHOUNDS is a funny and quite lavish Damon Runyan inspired semi musical with an astonishing cast. It was not released in cinemas in Australia and it really should have been. There is nothing at all preventing this film from doing good business if it has been promoted to be exactly what it is: an all star gangster musical with a huge and famous cast. I saw it on tape promoted as "Found! The lost Madonna movie" which is an outrageous deceit, given the many other more interesting actors, all gussied up and frantically rushing about from one nightclub to the other in snowy city streets. Madonna's great duet with Jennifer Grey, fresh from Dirty Dancing would alone have been enough to propel this funny pretty pic into any number of luxury cinemas (we still had them in the 80s). But, no, it wasn't to be and this easy to love 30s farce is still rather lost. What a waste! Lets see if a DVD release (with possibly fascinating interviews and extras) sees BLOODHOUNDS OF Broadway deservedly find its delighted audience. Apparently it opened in ONE New York cinema in 1989 with a reel missing. It was reviewed that way and unknowingly played like that for several weeks. Thus damaging its survival and any further plans.