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Strange Days (1995)

A former cop turned street-hustler accidentally uncovers a conspiracy in Los Angeles in 1999.

Director:

Kathryn Bigelow

Writers:

James Cameron (story), James Cameron (screenplay) | 1 more credit »
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Popularity
3,510 ( 39)
2 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
Ralph Fiennes ... Lenny Nero
Angela Bassett ... Lornette 'Mace' Mason
Juliette Lewis ... Faith Justin
Tom Sizemore ... Max Peltier
Michael Wincott ... Philo Gant
Vincent D'Onofrio ... Burton Steckler
Glenn Plummer ... Jeriko One
Brigitte Bako ... Iris
Richard Edson ... Tick
William Fichtner ... Dwayne Engelman
Josef Sommer ... Palmer Strickland
Joe Urla ... Keith
Nicky Katt ... Joey Corto
Michael Jace ... Wade Beemer
Louise LeCavalier ... Cindy 'Vita' Minh
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Storyline

In 1999, Los Angeles is racial war zone with the army and LSPD and SWAT officers fighting Afro-American people. The former cop Lenny Nero is a dealer of illegal recording in CDs that gives the memories and sensations of the recorder to the user. He buys the recordings from the supplier Tick; he misses his former mistress Faith, who was a hooker and now is a singer; his best friend is the private eye Max Peltier and the limousine driver Lornette 'Mace' Mason, who has unrequited love for him. Two days before the turn of the century, the black rapper Jeriko One is murdered. The hooker Iris seeks Lenny out but there is an incident and they do not talk to each other. However she drops a recording into Lenny's car while he unsuccessfully tries to meet Faith at a night-club. However her boyfriend Philo Gant does not let them talk. When Lenny learns that Iris was sadistically raped and killed, he gets involved in a sick scheme and discovers dirty hidden secrets. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

new year's eve 1999. anything is possible. nothing is forbidden. See more »


Motion Picture Rating (MPAA)

Rated R for intense disturbing violence, sexuality and pervasive strong language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

13 October 1995 (USA) See more »

Also Known As:

Strange Days 1999 See more »

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Box Office

Budget:

$42,000,000 (estimated)

Opening Weekend USA:

$31,062, 8 October 1995

Gross USA:

$7,959,291

Cumulative Worldwide Gross:

$7,959,291
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby | SDDS | Dolby SR

Color:

Color (CFI)

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Filmmaker trademark: During the first fight scene with Lenny, Mace, and Philo's crew, there is a fluorescent light fixture hanging by a cord that is spinning and shining light all over the room--a visual present in several of the films of James Cameron, who wrote, produced, and edited (uncredited) this film (and who had also been briefly married to director Kathryn Bigelow prior to this film's making). See more »

Goofs

When Faith rips off Max's wig and stumbles backwards, the wig changes hands between shots. See more »

Quotes

[first lines]
Tick:
  • you ready?

Lenny Nero: Yeah, boot it.
See more »

Crazy Credits

The ending credits end with the dedication "To Gertrude". See more »

Alternate Versions

A censored television version of the movie aired in the USA on the Sci-Fi channel on November 15, 1998. 29 minutes of footage were cut from the film to accomodate a "TV14" rating, and to shorten the film's running time. See more »

Connections

Referenced in S. Darko (2009) See more »

Soundtracks

Undone
Written by S. Tulipana, D. Trower, C. Sabin, P. Malinowski
Performed by Season to Risk
Courtesy of Red Decibel/Columbia Records
See more »

Frequently Asked Questions

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User Reviews

 
"Are we impressed yet?"
12 January 2000 | by The_Movie_CatSee all my reviews

The answer being, of course, yes I am impressed.

What a thoroughly enjoyable film Strange Days is. Fast-moving and occasionally violent, it's not high art but then neither is it dumbed-down fodder and it has much to commend it. The central plot revolves around an ex-cop (Fiennes, doing a - to my ears anyway - convincing American accent) peddling FBI technology on the black market. The SQUID technology (Super conducting QUantum Interface Device) electronically absorbs information from the central cortex and allows users to experience the thrill of another's sensations - be it murder, sex, robbery, etc. Of course, this central idea, while fascinating, does derive pretty much directly from a Twilight Zone episode. Were this a "classic" Zone episode from the b/w era, then people would have picked it up straight away and the game would be over. As it is, the inspiration comes from one of the colour Twilight Zone episodes which had even less viewers than Strange Days and so the movie can rest assured it is safe in obscurity. (Give up? Okay, it was episode 23, season three, 1989, "The Mind of Simon Foster". I'm an anorak, I know these things).

But whether such were intentional is pretty much irrelevant as the magpie technique of this film takes from many texts and builds something greater than the parts. One of the two greatest science fiction films of the 90s - the other being the excellent "Twelve Monkeys" - both have built-in sell-by dates by fixing their time period in a very near locale. Hence while the supposed date of Monkeys is long past at 98, this film now becomes a historical document as of New Year's Eve 1999. But then does it follow that we will stop watching 2001 in 2002? Hopefully not, and Strange Days is one that too deserves to be revisited in years to come.

The reason why I commend it most is its rewarding political stance. The development that gets adhered onto the "Squid" plot directly references the beating of Rodney King. Such contemporary referencing may again date it as quickly as the '99 setting, but then we also have Angela Bassett as a very empowered, yet caring black woman. Note how she and Lenny have exchanged traditional gender roles in this film, yet this feels not like some "macho woman" schtick but genuine characterisation. Lenny is a likeable, wisetalking street peddler who spends the film as a human punchbag. Gone is the cliched jaw-breaking action man role for him, instead his only retort to violence is "I'll give you my Rolex". This sense of, if you like, PC-ness, can also be evidenced with the lesbian couple kissing as the year 2000 breaks, or the (one scene only, admittedly) appearance of a disabled man as a central character.

However, the boundary-pushing elements of this movie are tainted by the appearance of Juliet Lewis in the film. A capable actress, her only role appears to be as a receptacle for various men's sexual needs or to gratuitously expose her breasts on multiple occasions. This is a great shame, and a pity that a film which has such high intentions in almost every other area should fall back on unfortunate portrayal.

The dialogue is pitched just about right without being particularly clever, though occasionally it stalls. "You're like a goddamn cruise missile, targetted on making it", Fiennes tells Faith (Lewis) at one point, managing to keep a straight face. Later, Bassett must endure having to say "These are used emotions. It's time to trade them in" and not use her gun on the scriptwriter. When the credits do roll, it's perhaps no surprise that James Cameron was the co-writer, as its slight perfunctory, by-the-numbers stance often reminds one of the machinations of "Titanic". Tom Sizemore as Max is every inch the one-dimensional Cameron "character", while plot twists sometimes feel heavily engineered. Maybe Jay Cocks is responsible for the script's more "human" feel, with particular note going to the moral debate of whether or not to expose the LAPD's murder of an influential black rapper. The two leads debate (internally, as well as verbally, a first for a Cameron movie) the implications and the possible consequences of such an action. Despite its flirtation with the mainstream, Strange Days is a film that dares to pervert the traditional course of Hollywood into a future that is worth seeing. Perhaps predictably, it made little impact at the box office.


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