At the offices of a Japanese corporation, during a party, a woman, who's evidently a professional mistress, is found dead, apparently after some rough sex. A police detective, Web Smith is ... See full summary »
At a time of international incident, the body of a young female staffer is found in a White House wash room. Homicide detective Harlan Regis is called in to investigate the murder only to ... See full summary »
Coming together to solve a series of murders in New York City are a police detective whose family was slain as part of a conspiracy and an assassin out to avenge her sister's death. The duo will be hunted by the police, the mob, and a ruthless corporation.
At the offices of a Japanese corporation, during a party, a woman, who's evidently a professional mistress, is found dead, apparently after some rough sex. A police detective, Web Smith is called in to investigate but before getting there, he gets a call from someone who instructs him to pick up John Connor, a former police Captain and expert on Japanese affairs. When they arrive there Web thinks that everything is obvious but Connor tells him that there's a lot more going on. Written by
When Web and Connor drive in the rain and only Web is shown, the passenger side windscreen wiper reaches the area that is wiped by the other blade. When both Web and Connor are shown, the wiper's travel is shorter and it does not reach the area wiped by the other blade. See more »
Must be nice to fuck a lawyer, instead of always being fucked by one.
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There is a credit in Rising Sun thanking "The MIT Leg Lab" and "Marc Raibert and his Running Team." This refers to a short scene where the two detectives go out to a fancy-looking research lab (really a water treatment plant; also used as the set for Starfleet Academy on the TV series "Star Trek - The Next Generation). In the background of some of the shots there are two legged robots: one hopping in a circle in a tea-house; the other bouncing up a garden path. These robots are actually academic research projects from the MIT AI Lab's Legged Locomotion Lab. They really do hop about and maintain their balance. Power comes from off-board hydraulic pumps (hence the guy in the background (me!) pulling hoses for the robot), and body attitude is sensed with gyroscopes. A human with a joystick tells the robot what direction to go, and the control algorithms (which are the real subject of Leg Lab research) maintain speed, direction, and balance. However, the robots aren't designed for special effects. They're always being modified, and they tend to break down frequently. This made shooting in the hot july sun of the San Fernando Valley a real nightmare, with transputers crashing in the heat, stuck gyros, and hydraulic leaks. Three grad students and a professor worked steadily for about a month before Hollywood, and then five days on the set and on location to get the robots in about 15 seconds of film. The credits are: Marc Raibert (our prof), and Charles Francois, Rob Playter and Lee Campbell (me) who are students. We three students appear in the film in white lab coats acting like Robot Scientists!! See more »
One of Crichton's best novels becomes a below-par thriller
Rising Sun is a textbook example of how to take a sure-fire, can't lose property and cock it up completely. It's not just a matter of the producers controversially changing the nationality of the killer that makes Rising Sun such a appointment: where Michael Crichton's novel weaved a multi-stranded web, turning issues into clues and bombarding the reader with information and clues to keep you guessing, director Philip Kaufman simplifies and makes it all patently predictable. Subplots are poorly handled, often either never followed through or simply forgotten, and you don't even care that much about who done it, or why.
Of course, there is a difference between what makes a good book and what makes a good film, but before the rot set in Crichton didn't just write novels that read well, he wrote novels that play - turning one of his books into a film should be more a matter of editing than adapting. Yet, extraordinarily, the producers have either dropped or diluted everything that made the novel such a huge bestseller.
Crichton's strength was always his ability to put over big issue in a pulp format, but while Kaufman does tidy up his typically messy ending, hedrops most of the issues, patronisingly soft-pedalling the novel's economic/political debate, leaving just the pulp. It's rather like making The Third Man and ditching all that guff about cuckoo clocks and black marketeering, and getting rid of Orson for good measure. It may now be a gaijin who kills the girl, but it's Kaufman who kills the movie.
Kaufman has shown he can take mainstream material and imbue it with a greater significance and still turn out a terrific picture with Invasion of the Body Snatchers and The Right Stuff (and let's not forget, he was one of the creators of Indiana Jones), but perhaps he'd just spent too long making art movies in the interim. Here there's a snobbery to his direction, a contempt for his material that shines through in almost every frame - he thinks he's better than this, but still comes out looking like an amateur.
Where Crichton's novel was not the racist tract many claimed at the time (Crichton's criticism wass aimed directly at America's short-sighted business/political strategy), Kaufman's film comes perilously close to being just that. The xenophobia of the scene where Snipes sets some homeboys on the Japanese who are following him is an uncomfortable and tasteless exercise in ethnic stereotyping that doesn't belong in this movie.
The most astonishing lapse is in the appallingly acted and staged scene where Snipes is interrogated by his superiors. While this provides the novel with an effective framing device, only a complete idiot would include the American PR man for the Japanese corporation implicated in the conspiracy and a muckraking reporter among those present. Kaufman does. Not only is he hopeless at staging action, but scenes such as the suicide are handled with an ineptitude bordering on the infantile while some of the sexual overtones are feeble beyond belief - hey, don't forget that close-up of the next door neighbour's crotch so we know what Wesley's thinking, Phil! If anything, the absolute stinker of an epilogue is even worse, coming on like the warm wrap-up to a 70s cop show and spelling out Connery and Carrere's relationship just in case we're too thick to work it out for ourselves.
Much blame for this must attach itself to executive producer Sean Connery. Too many years of being denied his due as an actor and still, one suspects, trying to overcompensate for his years in Bondage have left him a sucker for a 'quality' director and a name writer, often with disastrous consequences (cf. A Good Man in Africa). Yet if Kaufman kills the movie, Connery gives it the kiss of life. Connery is never less than watchable, and he's certainly one of the few things worth watching here, whether barking Japanese in a Scottish accent or deliberately losing at golf. It's one of the best displays of pure star quality energising a moribund picture you're likely to see.
Wesley Snipes is wildly miscast in a role that didn't just have Andy Garcia's name on it but his address and a photo of his wife and kids as well. Instead we get a another of his typically one-note aggressiveone-size-fits all performances. Supporting performances are dubious at best, with Mako, Carey-Hiroyuki Tagawa and Stan Egi faring best, countered by Ray Wise and Kevin Anderson, both even phonier than their roles.
When Rising Sun concentrates on the plot mechanics, such as the manipulation of an incriminating recording of the murder, it's fine, but what should have been great is merely an average potboiler distinguished by Connery's presence. Rupert Murdoch, who took a strong personal interest in the picture, said that if they got it wrong they deserved a sound kick in the a**. If you happen to run into him, you might want to take him up on that.
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