A murder inside the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years -- which could shake the foundations of Christianity.
A slick New York publicist who picks up a ringing receiver in a phone booth is told that if he hangs up, he'll be killed... and the little red light from a laser rifle sight is proof that the caller isn't kidding. Written by
Ryan McIntosh <Ryanmcintosh01@hotmail.com>
Screenwriter Larry Cohen originally pitched the concept of a film that takes place entirely within a phone booth to Alfred Hitchcock in the 1960s. Hitchcock liked the idea, but he and Cohen were unable to figure out a plot reason for keeping the film confined to a booth. Once the idea of a sniper came to Cohen in the late 1990s, he was able to write the script in under a month. See more »
At the end of the film when Stu is giving his speech the position of Kelly's hair changes between shots to reveal and hide her (right) earring. See more »
[about Stu's wife, Kelly]
You think she didn't know she was being watched.
But beautiful women always know. That false indifference, superior air. It's just a tease. They want eyes on them. Why does she put on her make up? Do her hair? Dress so nicely? Not for her husband which she hardly ever sees, no, it's for somebody else to notice... I notice.
See more »
The 20th Century Fox logo blends into the white clouds that open the film. See more »
Anyone who doubts that people are as easily programmable as Pavlov's pets need look no further Graham Bell's little box. While most of us generally don't start salivating at the sound of a ringing phone, few people (unless they work for a software help desk) can resist the urge to answer one. Pray that the darkest force that dials your number is a telemarketer.
For Stu Shephard, sincerity is little more than a fuzzy concept. A shady publicist, his life consists of spinning interconnecting webs of lies to further the careers of clients and raise his stature. In his spare time he enjoys abusing his assistant, and ignoring his wife. Stu is, is also determined to give an impressionable young actress a test run on the casting couch. When he enters the one functioning pay phone in a ten-block radius in the hopes of setting up a liaison, the phone rings. It turns out to be Stu's conscience on the line. With a sniper rifle aimed at Stu's head.
When you take into account that `Phone Booth' was filmed in just ten days, on a limited budget with a dearth of special effects, one principle actor and a single venue you could be forgiven for questioning the potential success of this film. The original November 2001 release date might give one pause - films that sit on the shelf usually do so for a reason - read `straight to video'. In this instance the studio wanted to wait until Farrell was more familiar to moviegoers. He achieved this with a little film called `Minority Report' (the name of his co-star escapes me at the moment...). `Phone Booth's' new release date had to be pushed back once again after the sniping episodes in Washington. Some things are worth the wait.
While he stole the spotlight as the maniacal hit man in `Daredevil', Farrell is faced with a different animal in `Phone Booth', an 80-minute soliloquy which lives or dies on his performance (several A-list stars walked away from the project for this very reason). Reminiscent of his much-lauded turn in `Tigerland', Farrell confirms that he isn't a one trick pony, proffering a wide-ranging display of emotions, from cocky to cathartic without straying into soap opera or comic territory. He delivers his lines with a solid fluidity rare among his peers, no simple feat when one takes into account that he's suppressing a harsh brogue. Farrell also demonstrates a presence, beyond mere charisma - his good looks can only inspire interest for so long
that draw the viewer into the story.
While the supporting cast - Katie Holmes as the naive ingenue and Forrest Whitaker as the good cop - fulfill their purpose, it is Keifer Sutherland who takes up what little slack there is. While the audience doesn't get to see Sutherland, he is amply menacing as the cold, otherworldly voice on the other end of the phone. The audience is never privy to who he is (`Just call me Bob') or what his motives are, but it is inconsequential - he sees all, knows all, and is clearly in charge. Unlike S&M, there are no safe words. And for a control freak like Stu nothing could be more terrifying.
Although tied to a static location, deft camera work provides action, perspective and mood with such techniques as quick pans, compressed zooming, and picture in picture sequences, while careful not to cross the gimmickry line . Enhanced sound editing bolsters the visuals: ringing phones are jarring, Bob's quietly booming voice is unsettling, and the sound of a round being chambered is deafening.
`Phone Booth' could easily have been a quirky novelty flick that played well amongst the art house set. Thanks to Farrell's performance it makes for good mainstream cinema (normally an oxymoron) and may actually make a few top ten lists.
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