
Wanted
1998

1997
RDirector
Rick King
Runtime
96 minutes
Average Rating
No ratings yetSynopsis
Real estate agent Maceda (Chris Sarandon) once testified against drug trafficker Orosco (Miguel Najera). Now Orosco is out of prison, and Maceda has a problem. He flees, hiding out at a near-vacant California Central Valley inn where innkeeper Kat (Mariel Hemingway) is happy to have him sign the register. His presence, however, arouses the suspicions of lone cop Gilchrist (Dennis Hopper). Meanwhile, Fed agent Gere (Peter Coyote) hopes to track Maceda before Orosco's thugs pick up the scent.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit LGBTQ+ characters or non-heteronormative relationship dynamics. The central conflict follows traditional heteronormative tropes common to the crime thriller genre.
Gender Representation
The story centers on a male-dominated power struggle between agents and criminals. While Kat is a central character, her role primarily facilitates the male protagonists' movements.
Racial & Ethnic Diversity
Casting choices like Chris Sarandon and Miguel Najera provide moderate racial inclusion. This moves the film beyond an exclusively Anglo-Saxon cast within its central conflict.
Religious & Cultural Diversity
The narrative adheres to Western thriller archetypes involving law enforcement and criminal activity. It reinforces traditional tensions between legal authority and transgression.
Disability Representation
There is no mention of characters possessing visible or invisible disabilities within the narrative.
Strengths
Areas for Improvement
AI Analysis
Road Ends operates as a conventional late-90s crime thriller, prioritizing genre tropes over progressive narrative architecture. While the film avoids total homogeneity through its casting, it does not actively challenge social hierarchies. The representation is largely functional. Diverse identities are present in the central cast, but they are utilized to populate a standard framework rather than to subvert systemic norms or explore intersectional themes. Ultimately, the film relies on established archetypes of authority and criminality, offering a standard genre experience without significant cultural or social deconstruction.

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