God bless criminally insane Eastern Europeans. Where would Hollywood be without them? Maybe by scapegoating foreigners, producers can put complaints about Hollywood stereotypes down to 'cultural differences'. Maybe it's just that Eastern Europeans will do anything for a quick buck. Either way Hollywood would (does that read as badly as it sounds?) be starved for evil villains without them.
15 Minutes is a tale of some wacky Eastern Europeans that come to America to retrieve some money from a 'friend'. Along the way one of them decides to pinch a camcorder and begins to record their, somewhat violent, exploits. Soon the crazy foreigners decide to record themselves murdering a well known police officer (De Niro) and sell it to the media (Kelsey Grammer). Along the way Jordy Warsaw (Edward Burns), a heroic, yet disillusioned, fire marshal (one of these 'not a cop' cops) tries to foil their plans.
At times it is difficult to tell whether 15 minutes is trying to be an action movie or a parody of the media obsessed lifestyles we all lead. Definitely a movie worth seeing with your thinking caps off.

In late 60's swinging London, a violent gangster, Chas, ends up on the run, and goes into hiding in the house of a rock star, Turner, who's going through an artistic crisis. As the rock star and his two groupies become fascinated with the gangster, he gets drawn into their world of drugs, sex and ambiguity.
If you go to the movies expecting stylistic unity, you're going to be very disappointed. The first section of the film, revolving around the lifestyle of Chas, is shot in a tough crime-film way, suggesting something like Get Carter. The later sections, inside Turner's house, get increasingly freaky and disturbing, as the audience is dragged into the various head-trips Chas goes through. James Fox, who played Chas, was apparently so disturbed by the filming that he dropped out of films entirely for a decade and became a militant member of the Salvation Army.
A glimpse of the seamy underbelly of the sixties, this is not for the squeamish. But anybody interested in the period, or just in the possibilities of cinema, should come along.