FlashCallahan An artist witnesses a mob killing and calls the police. At the police station she realises that the Mafia has a man in the force.Trailed by the police, who need her testimony, and a Hit-man hired by the Mafia, she goes to Mexico.She eventually she meets the Hit-man, who has become infatuated after studying her art and life to prepare for the kill....I don't know if it was to do with the version I saw, which was just the generic version that is on general release, but I found myself wondering, what is it with all these very good actors starring in something so generically average? Were they all desperate to work with Hopper? or is the three hour version so wonderous, it was too brilliant to show, as no other film could ever be made again.I feel that someone had some secret photos of someone, somewhere.It's basically a chase movie, then a slavery movie, and then finally some sort of strange Bonnie and Clyde-esque caper.But the film really doesn't know what it wants to be. It's too strange to be action, too sleazy to be romance, and just too sinister to be a comedy.It's almost as if Hopper is wanting to channel David Lynch, but doesn't have a clue.Saying that, it's never boring, Foster and Pesci are wonderful, and it's got one of the most abrupt endings ever.Not good, but worth watching.

oneguyrambling Word on the (imdb) street is that director Dennis Hopper was so p*ssed with studio interference that he asked for his name to be removed from the credits. Apparently he submitted and initial cut that ran over three hours and was then distraught when it was deemed too long and culled to a lean 90 minutes.As a viewer I can only pass judgment based upon what I see, and I can sympathise with both parties. For one I cannot fathom sitting through another 90 minutes of this eye-vomit, but on the other hand it seems that an absolutely insane editing decision renders the viewing experience incomprehensible.The upshot of that is as always no-one wins.Consider this: Anne (Jodie Foster) is an avant-garde artiste who witnesses a murder within approximately 27 seconds of entering a 'bad neighbourhood'.This moment of incredibly inopportune timing puts both mob and the FBI on her trail after she refuses to testify and shoots through to pursue a lifetime on the run in disguise.Dennis Hopper plays Milo, the elite hit-man hired by the mob to eliminate Anne and put an end to this nonsense, only Milo is apparently entranced by Anne's artwork and almost instantly changes from a cold blooded hit-man into a creepy stalker-rapist.Now. While all this is indeed mostly reprehensible it is not yet implausible. But wait there's more… (I would ordinarily warn of Spoilers to a 20 year old film here, but they are blabbed all over the back of the DVD cover so I don't feel so bad.) After Milo kidnaps Anne, threatens her life, forces her to don sexy (a word that should never appear in the same sentence as Jodie Foster) lingerie and rapes her – her words – we cut abruptly to a scene apparently only a short while later where they are both very much in genuine love.Wait. What the f*ck? Anyway the rest of this god-awful mess exists if you care to find it. I wouldn't suggest it. Repeatedly punch yourself in the groin instead, it's more fun and burns more calories. Unfortunately for me I didn't take that option and was still sitting glassy eyed when the credits rolled… The only other thing worth mentioning is that this stain of a film actually boasts a top-notch cast of actors punching well below their weight; Fred Ward, Joe Pesci, John Turturro, Dean Stockwell, Catherine Keener and Charlie Sheen all wasted parts of their lives appearing in it.As for the 'headliners' Jodie Foster was always miscast in a role that demanded 'sexy', and Dennis Hopper over-acts to sh*t in this film. If that isn't enough he adopts a ridiculous and annoying accent. Not being an American I have no idea if the accent is authentic or not and frankly I don't care, all I will say is that if it is legit perhaps it is advisable to simply not have characters from that particular region in film from this point on.Like this film there are things that don't need to exist.Final Rating – 3.5 / 10. If I was Dennis Hopper and had to live with the realisation that I was even partially responsible for Back-Track / Catch-Fire / Cinematic-Turd I wouldn't seek to remove the name Dennis Hopper from the film, I would seek to remove myself from Dennis Hopper.

jdmovieman Backtrack does have an intrigue, and as others have wrote, it goes downhill in the later acts. But all the filmmakers had to do when Milo the hit-man calls in his marker to claim (lies) that he has knocked off the woman witness after their weird love-affair and wants his pay is to make that killing claim the truth. He should have bedded her, then disposed of her. Then surely audience tears would have fallen. They turned what was potentially a stunning ending into a far-out shoot-out with cops and bad-guys inside a flammable industrial plant. Seeing Jodie Foster nude in the shower was a rather pleasant thing. Vincent Price as a mafia don was a slight miscast. All in all, I'd see this movie again.

wdrigby If that's what you want, you want this movie-- she bares it not once but twice. Or if Bob Dylan wielding a chainsaw is your bag... The script is clichéd and inept, the directing choppy, the excellent cast largely wasted. At least they look like they had fun making it. If it was better written/directed, the basic premise of the abductee falling for the abductor might be more believable. Jodie spends most of her time looking worried, until she suddenly mutates into passionate lover/co-conspirator. Joe Pesci managed to have his name completely scrubbed from the film and the packaging, although his part is not minor. Blink and you'll miss Catherine Keener, apparently in her first credited role. Somebody should put the soundtrack's sax player out of our misery.