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2 items from 1998

Film Review: 'The Thin Red Line' 'The Thin Red Line' / "There's only a thin red line between the sane and the mad." -- An old Midwestern saying.

21 December 1998 | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

It's a safe bet that more than just shell-shocked critics will take the time to see this remarkable film twice -- at least twice.

How big a hit Fox has depends on the fickle public's word-of-mouth, with many hurdles to overcome in the marketing. But its big, brooding, warlike nature -- asking the big questions and not finding easy answers -- May Foster the rare confluence of reality and art that makes "The Thin Red Line" an uncannily timed movie phenomenon.

After a 20-year-absence, enigmatic filmmaker Terrence Malick ("Days of Heaven") has realized a 10-year dream project -- based on the 1962 novel by James Jones -- and delivered a breathtaking cinematic experience, one very different than this year's other celebrated World War II film. Indeed, those expecting "Saving Private Ryan" will be surprised by the unconventional structure, sometimes slow pacing and heavy use of voice-overs but not by the bloody battles, which are graphic and complex enough to rival those in Steven Spielberg's award-winning hit.

There's no easy way to encapsulate the nearly three-hour plot and do right by every striking scene or memorable character. Likewise, the themes and Malick's directorial choices will be subject to much debate, more so than in any film this year. "2001: A Space Odyssey" was a mystery to many, and so will be "The Thin Red Line", but its reputation could soar over time.

Filmed previously in 1964 with Keir Dullea and Jack Warden, in a much abbreviated version, "The Thin Red Line" is the story of C-for-Charlie Company, U.S. infantrymen fighting the Japanese in the crucial campaign on the island of Guadalcanal in August 1942. Jones' brilliant novel follows several dozen characters through the landing, marching, fighting and "off-lining" of these GIs, with many dying in a series of clashes on the windy hills of the island's interior.

Malick immediately puts his stamp on the material with a nearly dialogue-free 10-minute opening sequence that introduces AWOL Pvt. Witt (Jim Caviezel) living in "paradise" with Melanesian villagers. The themes of showing how the fighting affects nature and how nature affects the soldiers are likewise introduced by first seeing this calm before the chaos.

A self-assured loner who misses his comrades and rejoins the war, Witt goes on to survive the horrific battles in the film's central section and continues to ponder the nature of man and war -- at one point a dead Japanese face, half-buried in the jungle muck, stares at him and talks as if it has already returned to the earth.

While there are Tolstoyian ambitions here, Malick is so unconcerned with routine drama and the battle scenes are so visceral that the film never feels unduly egg-headed, although some are bound to find it too pretentious, too demanding, too long, just too damn elegiac. The next-to-last argument could made, but it's not a serious flaw.

As for the rest of the film's superb cast, with one or two exceptions, there aren't enough superlatives to do justice to the work on display. 1st Sgt. Welsh (Sean Penn) is a humorless cynic that like all his fellows gets the "white-eyed" look of terror in combat. Pvt. Bell (Ben Chaplin) dreams of his wife back home, with Malick cutting to his sensual memories in one gambit that's somewhat overworked.

Capt. Staros (Elias Koteas) is the lawyer-turned-worried warrior who commands the men against entrenched Japanese positions and, in his bravest act, defies his superior, Lt. Col. Tall (Nick Nolte). A mad dog one minute and a decisive leader the next, Tall is one of Nolte's greatest roles, and his performance is tremendous. In a one-sided exchange with battle-tested Capt. Gaff (John Cusack) and when he relieves Staros of his command, Tall personifies the impersonal, savage thought processes that destroy or forever mark the average soldier.

Many more characters and performers stand out, particularly gung-ho Pfc. Doll (Dash Mihok), ill-fated Sgt. Keck (Woody Harrelson) and devastated-by-the-slaughter Sgt. McCron (John Savage). Used in reserve but effectively are John Travolta as a regal brigadier general -- in scenes with Tall on the tense troop transport before the soldiers make their unopposed amphibious landing -- and Adrien Brody as company clerk Cpl. Fife. George Clooney's brief moments as the new company captain near the conclusion is the one instance of the all-star approach coming up short.

Shot mainly in the Daintree Rainforest in Queensland, Australia, "The Thin Red Line" is a visual knockout -- from cutaways to indigenous animals and vegetation to the grimy, numbed faces of the survivors -- with John Toll's cinematography surpassing his Oscar-winning work on "Legends of the Fall". Likewise, the soundtrack is a marvel of craftsmanship, mixing the booms of bombs exploding and wind moving through the grass with works by Gabriel Faure, Charles Ives, Arvo Part and Hans Zimmer's meaty score.


20th Century Fox

Fox 2000 Pictures presents

Phoenix Pictures in association

with George Stevens Jr.

A Geisler-Roberdeau production

Writer-director: Terrence Malick

Producers: Robert Michael Geisler, John Roberdeau, Grant Hill

Executive producer: George Stevens Jr.

Director of photography: John Toll

Production designer: Jack Fisk

Editors: Billy Weber, Leslie Jones

Costume designer: Margot Wilson

Music: Hans Zimmer

Casting: Dianne Crittenden



Pvt. Witt: Jim Caviezel

1st Sgt. Welsh: Sean Penn

Pvt. Bell: Ben Chaplin

Capt. Staros: Elias Koteas

Lt. Col. Tall: Nick Nolte

Pfc. Doll: Dash Mihok

Capt. Gaff: John Cusack

Sgt. Keck: Woody Harrelson

Sgt. McCron: John Savage

Running time -- 170 minutes

MPAA Rating: R


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Film review: 'Out of Sight'

22 June 1998 | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

"Out of Sight" is Elmore Leonard lite, a breezy, doozy of a mismatched-lovers story that spins all over the place narratively but eventually glides into a recognizable place.

Based on the pleasing lead performances of George Clooney and Jennifer Lopez and Steven Soderbergh's cheeky direction, this Jersey Films production is snap-happy entertainment that should please summer moviegoers and heist a solid haul at the boxoffice for Universal.

Down to skivvies, "Out of Sight" is a romantic comedy blocked into Leonard land, namely the sleazy crime environs of Florida and Detroit. The mismatched lovers are career bank robber Jack Foley (Clooney) and U.S. Marshal Karen Sisco (Lopez), and the meet-cute situation comes during his escape from a Florida prison.

In short, don't expect the traditional big wedding march at the end, given the story's seedy circumstances, but "Out of Sight" percolates with the same kind of wacky comedic thrust of more standard-backed romantic comedies that involve lovers from across class lines.

In this caper case, "Out of Sight" doesn't necessarily mean out of mind -- unless you're talking about the mental set of the two leads. Against both their better judgments, they have fallen for someone across class -- in this case, criminal -- lines. Jack's a bad guy with decent urges, while Karen's a straight shooter with, well, that smart-female affliction: rotten taste in men. She always falls for the smooth-talking wife cheater or some other loser, much to the chagrin of her lawman father (Dennis Farina), but this time Karen has topped herself: She's charmed by a three-times-convicted bank robber, falling head over badge for Jack's jumpy charms.

Narratively, "Out of Sight" bounds around the geography enough to be classified as a road comedy, as Jack returns to Detroit for one last score, while it darts back and forth between present and past enough to mark it as a psychological thriller. It's a little of both as screenwriter Scott Frank distills the inner natures of both characters from these plot meanderings and cutbacks. Although their lives have taken drastically different courses, we come to realize that their urges, inspirations and outlooks are very much in sync.

Admittedly, there isn't much intricacy in the plotting itself, and "Out of Sight" sometimes seems slightly out of sync in its frequent flashbacks and cross-cuttings -- a tendency that will leave some viewers in the dark in its earlier stages. Fortunately, Soderbergh augments the film's narrative thinness with some deft comedic touches and canny cuttings.

"Out of Sight" is sharpest and, appropriately, most clear around the edges. It's all the small-picture stuff, the character quirks and circumstance oddities, rather than the big-picture plottings, such as the big score itself, that clue us to "Out of Sight"'s real nature. Overall, it's an appealing glimpse into human contradictions and foibles, of passions and dreams that are confounded by events and the characters' inability to overcome their own behavior and deeds.

Leads Clooney and Lopez sparkle. He is salt-and-pepper engaging, once again evincing a Cary Grant-ish charm and fast-of-foot manner that makes one warm to his otherwise criminal character. As the intrepid but loony-in-love marshal, Lopez's girl-in-a-whirl performance is altogether credible and appealing.

Special praise to casting director Francine Maisler. The colorful supporting performances are perhaps the film's highlight. Farina is superb as Karen's worrisome, cagey father, while Ving Rhames is both daunting and sympathetic as Jack's partner who is trying to go straight. Don Cheadle is terrific as a punk boxer with attitude, and Albert Brooks is cannily cast as a Milken-ish con who has a yen for diamonds. Steve Zahn's squirrely performance as a dumbbell con is consistently hilarious but never ridiculous -- a certain audience pleaser.

"Out of Sight"'s tech contributions are well-scoped: Costume designer Betsy Heimann's aptly slick-and-cheap duds and production designer Gary Frutkoff's smartly off-kilter backdrop bring perfect perspective to everything that is "Out of Sight".


Universal Pictures

A Jersey Films production

Producers: Danny DeVito,

Michael Shamberg, Stacey Sher

Director: Steven Soderbergh

Screenwriter: Scott Frank

Based on the novel by: Elmore Leonard

Executive producers: Barry Sonnenfeld,

John Hardy

Director of photography: Elliot Davis

Production designer: Gary Frutkoff

Editor: Anne V. Coates

Music: Cliff Martinez

Music supervisor: Anita Camarata

Costume designer: Betsy Heimann

Casting: Francine Maisler

Sound mixer: Paul Ledford



Jack Foley: George Clooney

Marshal Karen Sisco: Jennifer Lopez

Buddy Bragg: Ving Rhames

Maurice "Snoopy" Miller: Don Cheadle

Marshall Sisco: Dennis Farina

Richard Ripley: Albert Brooks

Midge: Nancy Allen

Adele: Catherine Keener

Kenneth: Isaiah Washington

Glenn Michaels: Steve Zahn

Running time -- 123 minutes

MPAA rating: R


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