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Most people who watch this film may need a seeing eye dog afterwards because their eyeballs will be smashed on the back of their skulls. As Stone said in an interview about U-Turn: "Theres a dark side to me, always has been." Stones message: Life is a hellish façade where hope is an illusory fiction. When Bobbys car breaks down in the desert while on the run from some of the bookies who have already taken two of his fingers, he becomes trapped in the. And while a billboard announces that "Jesus Is Lord," vultures continually circle the sky and the local church is closed. "Are you a human being or just some hungry ghost out there?" the Blind Man (Voight) poses to Bobby. When Grace (Lopez) asks Bobby if he believes that when he dies his spirit lives on, he responds that there is nothing after death and we are all "raw meat." We are lost and, unlike Ferreras Bad Lieutenant, there is no redemption. He portrays a world where there is no simple, knowable truth. But in this film Stones work takes a definite u-turn. Susan Mackey-Kallis in Oliver Stones America (1996) writes that Stones "work weaves a psychedelic love song on Rimbaudian verse that seduces us, turns us on, and lets us see visions and dream dreams, in turn, of other places, other worlds, other possibilities." This has been true in most of Stones films. Bobbys stop in Superior is his descent into hell, where everything is paid back in ugly retribution. In the tradition of Buñuel, Hitchcock, Tarantino and others, Stone provides us with a surreal, nihilistic look at modern lifea metaphor for hellwhere we are all like "sticks floating down a river" with no purpose or meaning. "Compensating familiarity of character and story," writes Foster Hirsch in Detours And Lost Highways (1999), "Oliver Stone, a director for whom way too much is clearly never enough, practices visual, thematic, and aural excess, at every moment transforming plenitude into hyperbole." Indeed, from the opening credits where vultures are eating road kill to the final moments of the film where Bobby is poised on a rock as a bloody serpent, U-Turn attacks the viewers sensibilities. And the unconventional cutting at the beginning of the film is reminiscent in its illogical juxtaposition of shot angles of the economical editing of Jean-Luc Godards À Bout de Souffle (1959)all intended to disorient the viewer. Title sequence from U Turn (1997) directed by Oliver Stone, starring Sean Penn, Billy Bob Thornton, Jon Voight, Jennifer Lopez, Nick Nolte. Shot on old 1970s military test film, it has a look that matches its mood. There, by predestined happenchance, Bobby becomes involved with a married couple (Nolte and Lopez), each of which wants Bobby to kill the other. Bobbys car breaks down, and he is stranded in the town of Superior, Arizona. Bobby Cooper (Penn) is a pill-popping, small-time gambler on the road heading toward Las Vegas to pay off the balance of a debt he owes.