A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
A family's moral codes are tested when Ray Tierney investigates a case that reveals an incendiary police corruption scandal involving his own brother-in-law. For Ray, the truth is revelatory, a Pandora's Box that threatens to upend not only the Tierney legacy but the entire NYPD.
A thriller about an IRA gunman who draws an American family into the crossfire of terrorism. Frankie McGuire is one of the IRA's deadliest assassins. But when he is sent to the U.S. to buy weapons, Frankie is housed with the family of Tom O'Meara, a New York cop who knows nothing about Frankie's real identity. Their surprising friendship, and Tom's growing suspicions, force Frankie to choose between the promise of peace or a lifetime of murder. Written by
Robert Lynch <firstname.lastname@example.org>
There seems to be a certain template for making "Oirish" movies in Hollywood. Add some or all of the following ingredients to your movie script
Aran Sweaters, a sub-Deliverance rural setting, comely maidens with red
hair, a village idiot (teeth optional), impromptu céilís and dancing at the crossroads, priests, drunken violence and the obligatory "Ooh arr, begorrah" accents and you have an Irish film. And if you want some controversy, why not try to tackle the situation in Northern Ireland by adding in some IRA men for good measure. Unfortunately, the Devil's Own has quite a few of the aforementioned clichés in abundance.
It is a great shame that with a cast and director of this calibre, they couldn't have come up with something better. There have been very few, if any, decent films ever made about Northern Ireland and perhaps it's time Hollywood stopped trying to put forward its own take on it, especially when it is as cack-handed as The Devil's Own. Not only is the whole movie grossly offensive to Irish people, and anyone else with a brain, but it is a dangerous message to be sending out to gullible Irish Americans. It's time film-makers stopped buying into the idea that the IRA are noble warriors when in fact they and others of their ilk are terrorists, pure and simple.
Avoid this like the plague. Brad Pitt's accent is the least of the problems in this film. He just isn't convincing as the cold-blooded killer he is supposed to be - he's far too nice. Harrison Ford is his usual reliable self but too much of the movie is taken up with a largely irrelevant sub-plot featuring himself and Ruben Blades as his police partner. At times, The Devil's Own seems like an IRA film mixed up with NYPD Blue.
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