Martin Blank is a professional assassin. He is sent on a mission to a small Detroit suburb, Grosse Pointe, and, by coincidence, his ten-year high school reunion party is taking place there at the same time.
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
Self-made billionaire Thomas Crown is bored of being able to buy everything he desires. Being irresistible to women, he also does not feel any challenge in that area. But there are a few things even he can't get, therefore Thomas Crown has a seldom hobby: He steals priceless masterpieces of Art. After the theft of a famous painting from Claude Monet, the only person suspecting Thomas Crown is Catherine Banning. Her job is to get the picture back, no matter how she accomplishes her mission. Unfortunately, Catherine gets involved too deeply with Thomas to keep a professional distance to the case. Fortunately, Thomas seems to fall for her, too. Written by
Julian Reischl <email@example.com>
The final heist consisted of men wearing bowler hats, trench coats, and carrying briefcases, to confuse the surveillance team. This was similar to The Heist (1989), another Pierce Brosnan film, where a heist at a horse track involved multiple men wearing Hawaiian shirts and straw hats. See more »
When Catherine Banning arrives in the office in the early morning she has a very potent drink to wake her up because of the jet lag. But if she comes from London, which the movie suggests, the jet lag should cause her to be wide awake at that time. See more »
Hooray for Hollywood! The world may be falling apart so like we needed money spent on a remake of "The Thomas Crown Affair." But then heck if Tinseltown in all its unoriginality doesn't do a bang-up fun job of unreality with characters who have no place in the Unreel World, from the classy looking opening credits to Sting covering "Windmills of my Mind" over the closing credits.
In the opening scene I'm thinking, wait I know that woman's voice and voila it's Faye Dunaway from the original film as Crown's shrink - I cheered out loud (OK so I was the only one in the audience that got the joke).
Pierce Brosnan and Renee Russo are an age-appropriate couple with genuine fireworks and chemistry (with help from director John McTiernan and editor John Wright in the tango and copulation scenes).
There's unconventionally good music choices - that tango is from Three Penny Opera of all things and a terrific use of Nina Simone's "Sinner Man" in a marvelous Magritte-inspired ironically tense heist scene. Brosnan's trainer gets a credit, as there's plenty of skin. Russo laughs, a gorgeous belly laugh, unlike so many frozen femmes fatale.
The credits also say that no museum was used as a locale, so gosh they really recreated the Met amazingly accurately (and how much did that cost?), though it didn't seem crowded enough Crown goes in at 9 when the museum doesn't open until 11.
I would think this is a great date movie.
(originally written 8/22/1999)
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