Pete goes to Miners Valley to meet his next client. He soon realizes he has walked into a complicated situation when everyone he meets is carrying a gun. His client is 18-year-old Cody Dennis. He was caught red-handed with twelve shotguns in the back of his truck, all with filed-off serial numbers. He was facing twelve to sixty years in jail. The boy's grandfather Paul, was in the business of selling guns. He started citing constitutional rights, saying what they were doing was neither wrong nor illegal. Regardless of the constitution, it's the Criminal Code of Nevada that counts in this case.
Meanwhile Nick meets up with Ada Tom Cole, who has asked Nick to help his sister Linda save her bear Otis, scheduled for lethal injection.
“Hi Otis. I'm a lawyer. We don't taste good.”
Nick meets his client
Pete has two possible defenses. The first one is that...
Meanwhile Nick meets up with Ada Tom Cole, who has asked Nick to help his sister Linda save her bear Otis, scheduled for lethal injection.
“Hi Otis. I'm a lawyer. We don't taste good.”
Nick meets his client
Pete has two possible defenses. The first one is that...
- 12/11/2010
- by Xindilini
Okay, so the bear plot “Nevada vs. Dennis” was a little lame.
However, I’m glad the case led to Nick’s first onscreen, post-divorce crush. Not only was it amusing because she was a client, (after all, Pete is the one typically cavorting with clients), but she was the sister of Ada rival Thomas Cole.
Cole is the rigid, rule-following District Attorney who is constantly competing against Nick and Pete. While usually eager to take down his opponents, this episode showed Cole in a different light.
In fact, the relationship of Cole and Nick was similar to that of athletes. On the court, they are focused on the job and the goal of victory. However, when they aren’t battling in the courtroom, the two seemed rather cordial and friendly.
Cole is certainly skilled as a lawyer and proficient in the courtroom, but when taken out of his element he seems a little awkward.
However, I’m glad the case led to Nick’s first onscreen, post-divorce crush. Not only was it amusing because she was a client, (after all, Pete is the one typically cavorting with clients), but she was the sister of Ada rival Thomas Cole.
Cole is the rigid, rule-following District Attorney who is constantly competing against Nick and Pete. While usually eager to take down his opponents, this episode showed Cole in a different light.
In fact, the relationship of Cole and Nick was similar to that of athletes. On the court, they are focused on the job and the goal of victory. However, when they aren’t battling in the courtroom, the two seemed rather cordial and friendly.
Cole is certainly skilled as a lawyer and proficient in the courtroom, but when taken out of his element he seems a little awkward.
- 12/9/2010
- by smckenna412@gmail.com (Sean McKenna)
- TVfanatic
Frequent fliers might understand the title ''Love Field, '' but the general public will be misled by this romantic moniker, especially when coupled with the star billing of Michelle Pfeiffer.
In this case, the title refers to the Dallas airport where John F. Kennedy landed prior to his assassination. Viewers expecting a passionate romp may be initially disgruntled, but ultimately charmed, by this backroads psychological journey where a young wife finally learns to trust herself.
''Love Field'' is essentially what Harry Cohn used to call a ''bus picture, '' a colorful odyssey where a man and a woman fussed and fought and eventually came to love each other. Prospects look rosiest on a limited run, however, before ''Love Field'' naturally lands at its most hospitable venue, rental city.
Not gussied up with a convertible T-bird, bourbon or gunplay, this woman-on-the-road odyssey is a sweet and scratchy portrait of a young wife, Lurene (Pfeiffer), whose marriage is as boring as an ironing board. Pretty Lurene married, basically, the boy next door (Brian Kerwin) and has been bored out of her mind ever since.
He's a nice guy, opens his own Budweisers and everything, but he'd eat creamed corn every day if she'd serve it to him. And she's getting sick and tired of her monotonous Campbell's soup life.
Not real smart, Lurene doesn't have other outlets. She doesn't get ''ordinary life.'' So, she takes to fixating on Jackie Kennedy, assumes her one-piece style and little pillbox hat and, in her most hungry yearnings, regards her armchair frontiersman as JFK. When the president is shot, she knows she must be at Jackie's side, go to the funeral.
Over her husband's perplexed objections, Lurene flies the coop. She hops on a bus, where even by the standards of public transportation, Lurene has the makings of a seat companion from hell. She chatters incessantly to a skeptical black man, Paul Dennis Haysbert), and his withdrawn young daughter (Stephanie McFadden), babbling her entire life.
But Paul, too, is running from his past, trying to establish a new life. The two forge a desperate bond, although he notes there's a difference between ''being bored and being black.''
Like most journeys, this sojourn has its slow spots, but screenwriter Don Roos has crafted a solid character-driven saga. Director Jonathan Kaplan's eye is ever receptive to off-roads color, allowing the story to bounce and bump along in its charmingly offbeat way.
Pfeiffer is superb as the bouffant-topped Lurene, marvelously capturing her nervous dissatisfaction and energies, while Haysbert is well-cast as the stoic, dignified Paul.
Technical contributions are smartly fleshed, in particular Mark Freeborn's trans-Americana production design and Peter Mitchell's period-packed costumes.
LOVE FIELD
Orion Pictures
Producers Sarah Pillsbury, Midge Sanford
Director Jonathan Kaplan
Screenwriter/co-producer Don Roos
Executive producers George Goodman, Kate Guinzburg
Director of phtography Ralf Bode
Production designer Mark Freeborn
Editor Jane Kurson
Music Jerry Goldsmith
Associate producer Sulla Hamer
Costume designer Peter Mitchell
Michelle Pfeiffer's costumes Coleen Atwood
Casting Julie Selzer, Sally Dennison
Color/stereo
Cast:
Lurene Hallett ... Michelle Pfeiffer
Paul Cater ... Dennis Haysbert
Jonell ... Stephanie McFadden
Ray Hallett ... Brian Kerwin
Mrs. Enright ... Louise Latham
Mrs. Heisenbuttal ... Peggy Rea
Hazel ... Beth Grant
Running time -- 104 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
In this case, the title refers to the Dallas airport where John F. Kennedy landed prior to his assassination. Viewers expecting a passionate romp may be initially disgruntled, but ultimately charmed, by this backroads psychological journey where a young wife finally learns to trust herself.
''Love Field'' is essentially what Harry Cohn used to call a ''bus picture, '' a colorful odyssey where a man and a woman fussed and fought and eventually came to love each other. Prospects look rosiest on a limited run, however, before ''Love Field'' naturally lands at its most hospitable venue, rental city.
Not gussied up with a convertible T-bird, bourbon or gunplay, this woman-on-the-road odyssey is a sweet and scratchy portrait of a young wife, Lurene (Pfeiffer), whose marriage is as boring as an ironing board. Pretty Lurene married, basically, the boy next door (Brian Kerwin) and has been bored out of her mind ever since.
He's a nice guy, opens his own Budweisers and everything, but he'd eat creamed corn every day if she'd serve it to him. And she's getting sick and tired of her monotonous Campbell's soup life.
Not real smart, Lurene doesn't have other outlets. She doesn't get ''ordinary life.'' So, she takes to fixating on Jackie Kennedy, assumes her one-piece style and little pillbox hat and, in her most hungry yearnings, regards her armchair frontiersman as JFK. When the president is shot, she knows she must be at Jackie's side, go to the funeral.
Over her husband's perplexed objections, Lurene flies the coop. She hops on a bus, where even by the standards of public transportation, Lurene has the makings of a seat companion from hell. She chatters incessantly to a skeptical black man, Paul Dennis Haysbert), and his withdrawn young daughter (Stephanie McFadden), babbling her entire life.
But Paul, too, is running from his past, trying to establish a new life. The two forge a desperate bond, although he notes there's a difference between ''being bored and being black.''
Like most journeys, this sojourn has its slow spots, but screenwriter Don Roos has crafted a solid character-driven saga. Director Jonathan Kaplan's eye is ever receptive to off-roads color, allowing the story to bounce and bump along in its charmingly offbeat way.
Pfeiffer is superb as the bouffant-topped Lurene, marvelously capturing her nervous dissatisfaction and energies, while Haysbert is well-cast as the stoic, dignified Paul.
Technical contributions are smartly fleshed, in particular Mark Freeborn's trans-Americana production design and Peter Mitchell's period-packed costumes.
LOVE FIELD
Orion Pictures
Producers Sarah Pillsbury, Midge Sanford
Director Jonathan Kaplan
Screenwriter/co-producer Don Roos
Executive producers George Goodman, Kate Guinzburg
Director of phtography Ralf Bode
Production designer Mark Freeborn
Editor Jane Kurson
Music Jerry Goldsmith
Associate producer Sulla Hamer
Costume designer Peter Mitchell
Michelle Pfeiffer's costumes Coleen Atwood
Casting Julie Selzer, Sally Dennison
Color/stereo
Cast:
Lurene Hallett ... Michelle Pfeiffer
Paul Cater ... Dennis Haysbert
Jonell ... Stephanie McFadden
Ray Hallett ... Brian Kerwin
Mrs. Enright ... Louise Latham
Mrs. Heisenbuttal ... Peggy Rea
Hazel ... Beth Grant
Running time -- 104 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 12/9/1992
- The Hollywood Reporter - Movie News
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