A retired FBI agent with psychological gifts is assigned to help track down "The Tooth Fairy", a mysterious serial killer; aiding him is imprisoned forensic psychiatrist Hannibal "The Cannibal" Lecter.
A young man is a reformed gambler who must return to playing big stakes poker to help a friend pay off loan sharks, while balancing his relationship with his girlfriend and his commitments to law school.
2,100 actors, auditioned for the role of Aaron Stampler. Matt Damon was among one of the actors. See more »
When Vail is in the bar drinking shots and talking to the reporter, first he is shown to be sitting on the left of the reporter, then on the right (with the TV to his left), then back on the left (with the TV to his right). See more »
[to Martin, inside his office, inside his law firm]
But that means you have to change the plea to insanity, which you can't do mid-trial, unless of course you're planning on a career change.
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Decent thriller that relies heavily on a solid cast.
Rating: ** 1/2 out of ****
Here's a film I remembered being a huge fan of back when I first saw it in theaters in '96. Seeing it again for the third time since, it doesn't quite live up to my fond memories. Aside from Edward Norton's scene-stealing performance as suspect Aaron Stampler, there's really not much about the film that separates it from most of the genre. The plot, concerning the murder of a beloved archbishop at the alleged hands of an innocent-looking altar boy and the eventual high-profile trial, is certainly rife with potential but is never executed beyond the level that's expected of a competent pulp thriller.
But credit should be given where it's due, especially the first hour of the film, which does a pretty solid job of setting up the film as an engrossing mix of murder mystery and courtroom drama. The performances are all solid, with Richard Gere providing yet another effective variation of the slick, cocky persona (this time as a "big-shot attorney") he's mastered and Laura Linney acting convincingly stressed out and aggravated by the understandably vexing situation her character's been placed in.
But with all the pieces in place in the first half, the film never quite results in the tight, suspenseful thriller we expect. The most noticeable problem is excess baggage, with the film too often straying from the case at hand and veering towards less interesting tangents. There's just too much chaff here, with subplots that include the romantic tension between Linney and Gere, the writer doing the article on Vail, and the housing development project that simply takes up too much of the movie's already overlong running time.
Equally problematic is a major plot twist halfway through which, while effective in its own right and allows the opportunity for Norton to stretch his considerable acting talent, ultimately lessens the speculative tension that these thrillers usually rely on. From that point on, most of the enjoyment is derived from Norton's performance, and though it's not quite the show-stopper I once considered it to be (probably doesn't help I just saw this flick after his absolutely incredible performance in American History X), it's still one of the better debut performances any actor has ever put forth.
It's with some relief that I can at least say the film saves its best scenes for last (the last three minutes are quite memorable), and definitely finishes things off on a high note. Primal Fear was directed by Gregory Hoblit, who's actually proved himself a pretty skillful filmmaker when it comes to crafting thrillers. This one's merely competent, no more and no less.
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