A group of professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist, while both sides attempt to find balance between their personal and their professional lives.
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 come out? Written by
The shots of Pascagoula Beach Boulevard show a seawall next to the road where the Gulf comes up to it. Since filming, the Army Corps of Engineers pumped sand from the sound and created a sand bar that runs the entire length of the beach-front connecting it to the "sandbox" on the east end, extending a one-fourth mile sand beach, into one approximately two miles long. The concrete barriers along the road, were replaced with a promenade between the street and the sand. See more »
When Bergman goes to Wigand's house for the first time, he covers his head from the rain with a newspaper running a story on the conclusion of the O.J. Simpson murder trial (The headline is "Simpson Freed"). The OJ trial only started in November 1994 - long after Wigand was fired in March 1993. See more »
Uotaaref Men Elihabek
Written by J. Baird, Frank Gari (as F. Gari)
Performed by Casbah Orchestra
Courtesy of Legacy International
By Arrangement with Frank Garl Productions & Bully Music Associates See more »
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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