Cops, local mob leaders, and the guys on the street all have ideas who the killer is; neighborhood loners to Reggie Jackson (in the midst of World Series heroism) are on their misguided lists of suspects. When the film looks at how the citizens faced the fearful times, Lee scores with his energetic camerawork and pop soundtrack. Yet the film is banal in its domestic dramatics. The film takes large detours into Vinny’s home sex life (stagnant) and Ritchie’s extracurricular activities. One of the marriage arguments–though real and well acted–is so long and cliché-ridden you wonder if someone fell asleep in the editing booth. Add the point-blank killings and nonstop vulgarity and you have Lee’s most unpleasant film. –Doug Thomas