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The Jackal (1997)

An imprisoned IRA fighter is freed to help stop a brutal, seemingly "faceless" assassin from completing his next job.

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(earlier screenplay Day of the Jackal), (screen story) | 1 more credit »
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Cast

Cast overview, first billed only:
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FBI Agent McMurphy
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FBI Director Donald Brown
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The First Lady
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Woolburton
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Douglas
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Jamaican Girl
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Terek Murad
Steve Bassett ...
George Decker
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Storyline

In Moscow, the FBI and their Russian counterpart, the MVD, are working on a joint mission to apprehend Russian mobster Ghazzi Murad specifically for the murder of Mayor Nikolai Semankho. During the arrest, they are forced to kill Ghazzi. Ghazzi's brother, Terek Murad, also a mobster, begins his own form of deadly retribution against the MVD for Ghazzi's death. But the FBI and MVD also get wind that Terek has hired an assassin by the code name Jackal to carry out a hit on a high profile but unknown American target for the Americans sticking their nose in Russian affairs. Intelligence points to that target being Donald Brown, the Director of the FBI. The Jackal is known only by name and reputation but no one in authority knows who he is, what he looks like or if he even really exists. They learn of only one person alive who they know has had ties to the Jackal: former Basque separatist Isabella Zanconia, whose whereabouts are unknown. As such, the FBI and MVD decide to turn to the one ... Written by Huggo

Plot Summary | Add Synopsis

Plot Keywords:

jackal | fbi | russian | assassin | ira | See All (174) »

Taglines:

How do you stop an assassin who has no identity?


Motion Picture Rating (MPAA)

Rated R for strong violence and language | See all certifications »

Parents Guide:

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Details

Country:

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Language:

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Release Date:

14 November 1997 (USA)  »

Also Known As:

The Day of the Jackal  »

Box Office

Budget:

$60,000,000 (estimated)

Opening Weekend:

$15,164,595 (USA) (16 November 1997)

Gross:

$54,930,280 (USA)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

At age 91, just a few months before his death, Fred Zinnemann, director of the original The Day of the Jackal (1973), on which this film is based, fought with Universal to change the title of the film. He said the original had stood the test of time and did not want the remake to have the same title. See more »

Goofs

(at around 1h 1 min) When the Jackal is rubbing his ear at the end of his weapon testing, a member of the crew and some equipment can be seen reflecting in his sunglasses. See more »

Quotes

McMurphy: How did you know whose phone to tap?
Carter Preston: I didn't. So I tapped everybody's.
Ambassador Koldin: But I have Diplomatic Immunity! Who authorized you to tap my telephone?
Valentina Koslova: I did, Ambassador.
See more »


Soundtracks

It's Over, It's Under
Written by Graham Edwards, Charlie Midnight, Nick Trevisick and Sierra Swan
Performed by Dollshead
Courtesy of Refuge Records, J.V.
Under license from Universal Music Special Markets
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Frequently Asked Questions

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User Reviews

 
Tense, fast-paced, but sort of ordinary suspense thriller
27 March 2005 | by (Vulcan) – See all my reviews

You can't really approach this as a remake of the classic 'The Day of The Jackal.' Though broadly similar, the entire feel of the two films is incomparable. And suspense thrillers are all about "the feel" aren't they?

The story is pretty standard fair - a super villain assassin (Willis) is going to make a big kill using a huge weapon and leaving a trail of bodies along the way. Gere, an IRA soldier (jailed for "terrorism") is brought on as consultant because he is one of the few people who has seen 'the Jackal", and given a few vague promises in exchange for his help. As it turns out, Gere has more than just knowledge - he has a vendetta. Poitier oversees Gere and the investigation of Willis, and comes to realize that Gere is the only hope of stopping him.

I like Sidney Poitier, Bruce Willis and Richard Gere, so I was predisposed to like this film. I was neither very surprised nor disappointed. The Jackal is entertaining and the performances are strong. Poitier is always a class act, and Willis and Gere have terrific anti-chemistry. There's nothing wrong with the cinematography or directing, and the pace of the film, though a little breathless, is fine. Regardless, the story-line never reached much beyond the ordinary thriller fare. Making a truly great thriller requires either doing something really original (very hard to do) or using a truly inspired script. This film's script is decent, but the story line could have used a little more careful thought and a bit more complexity.


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