Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
Following a truck hijack in New York, five conmen are arrested and brought together for questioning. As none of them are guilty, they plan a revenge operation against the police. The operation goes well, but then the influence of a legendary mastermind criminal called Keyser Söze is felt. It becomes clear that each one of them has wronged Söze at some point and must pay back now. The payback job leaves 27 men dead in a boat explosion, but the real question arises now: Who actually is Keyser Söze? Written by
The idea for this movie started only with the concept of a movie poster of five men in a lineup. See more »
In the scene where Kobayashi is walking through the office building flanked by his two bodyguards, just before the camera pulls back to reveal Hockney, we see an African-American woman in a white blouse and tan slacks walking along side of Kobayashi. In the next cut to Kobayashi walking through the elevator corridor, if you look to the bank of elevators to the left, you'll see the same woman coming out of an elevator as if she had just come down from one of the upper floors. See more »
The editor, John Ottman, edited the movie on film. He felt that all the editing done electronically at the time was horrible because all the good editors were still working on film (which is much more difficult). Because of this he thought about putting "Edited on a piece of s*** Steenbeck" at the end of the credits, but instead settled for the more subtle line "Edited on film." Tim Robbins was directing 'Dead Man Walking' at the time and heard about John's idea, which sparked that film's credit ending of "This film was edited on old machines." See more »
If plagiarism were a crime in film techniques, dir...
If plagiarism were a crime in film techniques, director Bryan Singer would be imprisoned for life. Screenwriter Christopher McQuarrie would be serving a similar sentence. However, since it is not, Singer and MacQuarrie (who have joined forces again after the not-so-successful PUBLIC ACCESS) took advantage and duplicated nothing but the best. From CASABLANCA to PULP FICTION, and even a version of a line (intentionally or otherwise) from BUTCH CASSIDY AND THE SUNDANCE KID.
Many people oppose watching a film with a twist a second time. I disagree. By watching it again you can observe how the director and the screenwriter have hidden and revealed clues, how they have tried to steer the audience away from the ending. First time is for entertainment. Second time is for art. This film is certainly worthwhile to see again. To date, I have watched it five times. (Two of those five times I thought, 'well, I'll just watch about half-an-hour,' but ended up watching the entire film because it is so entertaining.) I'm not exactly a noir fan, so it is assured that this particular crime film appeals to a wider audience.
THE USUAL SUSPECTS has a skilled director, an engrossing screenplay, and ten praiseworthy performances. The film runs a fast 105 minutes. Don't miss a minute of it.
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