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.
Balls-out "60 Minutes" producer Lowell Bergman sniffs a story when a former research biologist for Brown & Williamson, Jeff Wigand, won't talk to him. When the company leans hard on Wigand to honor a confidentiality agreement, he gets his back up. Trusting Bergman and despite a crumbling marriage, he goes on camera for a Mike Wallace interview and risks arrest for contempt of court. Westinghouse is negotiating to buy CBS, so CBS attorneys advise CBS News to shelve the interview and avoid a lawsuit. "60 Minutes" and CBS News bosses cave, Wigand is hung out to dry, Bergman is compromised, and the CEOs of Big Tobacco may get away with perjury. Will the truth out? Written by
The real Jeffrey Wigand asked for two concessions from the filmmakers: that they change the names of his daughters, and that there be no smoking anywhere in the film. Both requests were granted (except for the three small instances previously mentioned). See more »
When Bergman and Wigand first meet in the hotel, Bergman places two documents on the table for him to read; the thinner document being placed on top of the thicker one. When Wigand picks them up the thicker document is on top. See more »
You heard Mr. Sandefur say before Congress that he believed nicotine was not addictive.
I believe Mr. Sandefur perjured himself because I watched those testimonies very carefully.
All of us did, and it was this whole line of people, whole line of CEOs up there, all swearing.
Part of the reason I'm here is that I felt that their representations clearly misstated - at least within Brown and Williamson's misrepresentations - clearly misstated what is common language within the company: "We are in ...
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From scene one, this film delivers a long slow burn as the tale of power and corruption unfolds. There is little action, but the film is steeped in an atmosphere of tension and high drama. The direction by Michael Mann is masterful, an object lesson in how to frame shots and let silence, as well as words - and music - work for the story. Al Pacino is once more the great actor of early films such as 'Scarecrow', instead of the theatrical performer of recent films. Russell Crowe shows his solid 'ordinary guy'character as more tortured through losing his family than any of the macho scenes he portrayed in 'Gladiator.' A superb film.
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