disgusting, overrated, pointless

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

This movie captures the neon world of the late seventies new-wave/punk era near-perfectly and is unique in the fact that it is the only movie to do so! The acting, specifically Carradine, Bujold and Morton, is top-notch, the music, by Mark Isham, is moody, jazzy and noir-perfect and humor abounds throughout. The story is cartoonish, but that is part of its charm.The interesting cast does a fine job. Lori Singer as Georgia is the right blend of beauty, innocence, and vulnerability which nicely contrasts with Wanda's tough (but, yes, good-hearted) exterior. John Considine as the completely corrupt lawyer Nate is fine also, and the other supporting cast chips in as well. The story centers around Kris Kristofferson, starring in one of his few really good movies, as a disgraced cop who gets paroled back into Seattle society after serving time for murdering a crime lord for harassing an old flame of his, Wanda, played by Genevieve Bujold, whom he reunites with after he gets out. Wanda owns a popular diner haunted by weirdos and hangers-on over which Kristofferson takes an apartment she offers to him out of gratitude. Into this mix comes Coop, played by Keith Carradine, a young married with the requisite financial problems all working class young marrieds face: New baby, new expenses, a wife to support.... A great 80s American film meant to spotlight the mix of innocence and sleaze that's America at its core, "Trouble in Mind" delivers the goods.Overall rating: 8 out of 10.

'Trouble in mind' is set in a mildly dystopian city named Rain City (Seattle) and has fairly colorful characters all over the place. Kristofferson sometimes looks like a skinny Orson Welles (big hat, big coat), Carradine slowly turns into a Brian Setzer on acid, and then there's more regular looking people as well as plenty of weirdos. For some time I was wondering where things were going; noticing some illogical acts of the characters, and Hawk was even a downright sickening character at moments (the rape of Wanda), even if there's a struggle inside him that lies at the core of his behaviour.Somehow it was doable, but then the movie shifts into a higher gear, with some bloody violence, a thoroughly absurd shoot-out (wonderful stuff!) and just the right accents in the final outcome (Hawk saves the day, but still leaves and Coop learns his lesson, but joins the army). Those were just the kind of things I wasn't expecting, but felt very much in order.The drama in 'Trouble in mind' does not feel very sincere, but it has its place within this tongue-in-cheek, kitschy atmosphere (saxophone - check). It's some sort of understated superhero sci-fi flick (with love story) that seems to reflect on the '80s taking over the '70s. Or something like that - watchemecallit.A good 7 out of 10.

TROUBLE IN MIND is a heavily atmospheric neo-noir from Alan Rudolph that is quite intriguing and interesting to watch. The story, if one can call it that, is about an ex-cop, a coffee shop owner and a young couple who are each trying to make their own way in RainCity, a fictionalized/alternate universe version of Seattle. Like the name implies, there is a lot of rain and there is a pervasive sense of melancholy that hangs over it like a cloud. The people who live there all have their pasts, but what really drives them is the hope that they will make it and overcome their circumstances. That, I believe, is at the heart of what this movie represents. In many film noirs past, the general thematic tone was one of fate and destiny, and it being out of human control. Here, in a similarly constructed world, we have people trying to wrest control back into their own hands. Overall, I thought the movie was rather good. Kris Kristofferson gives a great performance as the ex-cop with a checkered past, and Genevieve Bujold, Lori Singer and Keith Carradine give equally decent performances as the coffee shop owner and the young couple, respectively. Ample time is also spent with each character, so that you get to know and sympathize with them (although, to a lesser, degree with Genevieve Bujold). The effect that the city has on a person is seen most explicitly with Coop, played by Keith Carradine, as his appearance changes considerably over the course of the film, and he gets deeper and deeper into the underworld. Also worth mentioning is Divine, who takes a supporting role as the top gangster in RainCity. This is probably his best performance, and he brings shades of flamboyance and menace to it. He is only in a few scenes, but his presence is felt over the entire film and he makes the most of his limited screen time. The movie also has a fantastic jazz score and some great songs sung by Marianne Faithful. But despite how great the film is, there are a few drawbacks. The biggest one is a climactic shoot-out which comes out of nowhere and seemed poorly choreographed. There's also some spotty acting from people in minor roles. Overall, I wasn't quite sure what to expect when I first heard about this, but I was pleasantly surprised. Alan Rudolph managed to create a neo-noir which doesn't wallow in misery, and which maintained its own unique style. I'd recommend checking this one out, especially if you're into the noir genre. You probably won't be disappointed.

The person who compared this film to Bladerunner is not only doing this film a disservice, but is so far from the mark as to be untrue. The chief protagonist is a cop true, and though initially spurned, he does get the girl in the end, but that's about where it ends...From the opening strains of the muted trumpet, and Marianne Faithfull's beautifuly broken voice, this film is a masterpiece, it's moody, quirky, low key and not without a little menace, especially when Hilly Blue "puts the anchor" on Solo, "they should all blow each other's balls off, make my life easier..." to quote Lt. Gunther.It's everything that Bladerunner isn't, if anything it's set in some alternate vision of a disfunctional 50's & 80's combined, down at heel low life's, trashy outfits, too much drab neon & hairspray, allied with a little mob glamour and modern art.I guess I just feel for the characters, Hawk's hunger for a life he never had, the Zen stillness of Wanda, the wild eyed innocence of Georgia and the weirdness that is Coop, Solo freaking out as a Bhudhist, and last but not least, Divine in a suit... "let everybody get what they deserve..."It's not a fast movie, or an ensemble piece, but at some deep level it resonates."what are you looking at?" "you a cop?" "you know damn well I'm not a cop" "that's what I'm looking at then, a woman who isn't a cop..."It's the film I watch when I get down, I've lost track of the number of times I've watched it, I caught it first at the ICA West Bank in London, on it's last showing before they started a series of Mexican masked wrestling bario movies :) I bought it recently on DVD in a shop in Schipol airport after being delayed in Amsterdam for two hours, I'd been looking for it for years at that point... Even Amazon had it on back order.It's really a wonderful movie, from icy lake to mountain road, I always come away from it happy, I guess you can ask no more from a movie than that.