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 <email@example.com>
The original script for the film was much darker than the version used for the final film. Amongst other elements: Pitt's Frankie the Angel character alternated between slaughtering all of the inhabitants of a crack house and crooning Irish music at a local pub; Ford's Tom O'Meara was a "hair bag cop" who got that unflattering nickname because he's been a uniformed officer for so long; and an entire scene consisted of O'Meara and his partner throwing vile insults at each other. This draft was the one that Brad Pitt read before deciding to sign onto the project. See more »
During the first shoot out Frankie yells to Ronnie and points to him. We see Ronnie turn the corner and start to shoot. However if you look closely debris is falling "upward". Obviously the shot is in reverse. The same shot is repeated moments later but correctly. See more »
The killing's got to stop, Frankie.
Then you'll have to kill to stop it. Get's a bit complicated, doesn't it?
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Why must Hollywood meddle in things it doesn't understand?
I say this making no pretense at completely understanding the Irish conflict myself (you'd have to ask someone with experience of Belfast for a more authentic take on the situation), but the irresponsible way the troubles were used here as a backdrop to what is supposed entertainment staggers me. It isn't as if it needed this detail; the terrorist could have been from any unspecified organisation. In the incompetent handling of sensitive issues that the makers really have no idea of, the production team involved in this really have let themselves down. Brad Pitt realised this too late and henceforth disowned the film, a fact which made me admire and respect him even more.
For this I wanted to hate the film, and yet found myself unable to. Beneath the misbegotten attempts at 'political comment', there is a decent little thriller struggling to get out. Pitt is great as the terrorist (dodgy accent aside) and Ford is as reliable as ever in the role of the honest cop. Director Pakula keeps the story moving at all times and stages the action well. Despite all these pluses, I constantly felt uncomfortable at the ways in which the script tried to manipulate my sympathies. While it's not quite enough to make me downgrade the film on an enjoyment level, it loses big points from an ethical perspective. Shame on you Tinseltown.
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