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Following the theft of a highly-secured piece of artwork, an agent convinces her insurance agency employers to allow her to wriggle into the company of an aging but active master thief. Connery's burglar takes her on suspiciously and demands rigorous training before their first job together--stealing a highly-valued mask from a chichi party. Their deepening attraction and distrust could tear apart their partnership but the promise of a bigger prize (some eight billion odd dollars) by Zeta-Jones keeps the game interesting. Only, who's playing with whom? Written by
While Antoine Fuqua was briefly attached to direct, he wanted to increase the action sequences. Fuqua envisioned a rather large, epic scale car chase for the scene where Gin and Mac escape from the shady antiques dealer, and the climactic heist was to feature more high-tech gadgets and a much more intricate escape. Producer/star Sean Connery was not happy about Fuqua's plans for the film, in fact, in a 1999 issue of Premiere magazine, he said that Fuqua tried to turn the film into "The Rock", which Connery believed wouldn't have worked for the picture. See more »
When Gin is stealing the mask, she uses powder to reveal on last laser beam that Mac can't she because she is blocking it. However, if she had actually blown on her powder hard enough to get enough powder off to see the beam, she would have set off the alarms. This would be the case if it would have been normal foundation, however there is no consensus to the fact as it could have been a much lighter, and, therefore, not as likely to set off the alarms powder. See more »
The action races from New York to London to Scotland to Kuala Lumpur, while three intricately plotted and technically executed thefts take place. The action twists and turns, the characters may or may not be what they seem to be, and crosses follow double-crosses. Thus, there is little time for the viewer to be bored or to ponder the implausibility of it all. But, in a sleek glossy film such as this one, logic is not a key factor, it's the look and the action that count, and both of those attributes, especially the look, make "Entrapment" an entertaining film. Sean Connery, who plays an aging master thief, can anchor any film that he appears in, and this one is no exception. His presence alone grounds the movie and nearly makes the implausible plausible. However, while Connery is one of a handful of men who have retained their looks and masculine appeal beyond middle age, the likelihood that the luscious Catherine Zeta-Jones, who is at the peak of her beauty here, would fall for him tests the bounds of credibility. Perhaps the romance was written in as a fantasy for us near-codgers and to give us hope. Besides the excellent cinematography of the human scenery, which also includes the dependable Will Patton and Ving Rhames, the lush photography of the Scottish Highlands offers an unsolicited advertisement for the Scottish National Tourist Board. If rooms were available in the luxurious castle that Connery uses in the film, this would have been written there.
Thus, "Entrapment" seems to have everything: beautiful people, solid performances, breathtaking scenery, suspense, and excitement. There is definitely enough here to entertain a not-too-discriminating viewer for two hours. Of course, afterward, one might ponder why all of the expensive high-tech security systems that are depicted in the film quickly fall victim to a pair of thieves who seem more amused with themselves than intense and focused when they are stealing such incredible sums of money. If theft were as easy and casual as Connery and Zeta-Jones make it seem to be, we could all have a lot more fun in life plotting and executing heists instead of commuting and staring at computer monitors.
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