Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
A veteran cop, Murtaugh, is partnered with a young suicidal cop, Riggs. Both having one thing in common; hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged out rock 'n' roller presumed to be dead but very much alive -- has a multi-million dollar prize fall into... See full summary »
CIA operative Nathan Muir (Redford) is on the brink of retirement when he finds out that his protege Tom Bishop (Pitt) has been arrested in China for espionage. No stranger to the machinations of the CIA's top echelon, Muir hones all his skills and irreverent manner in order to find a way to free Bishop. As he embarks on his mission to free Bishop, Muir recalls how he recruited and trained the young rookie, at that time a sergeant in Vietnam, their turbulent times together as operatives and the woman who threatened their friendship. Written by
In the scene where Nathan enters his office after the CIA employees rummaged through it we can see director Tony Scott's faded red hat on the right next to the door. See more »
Once Operation Dinner Out is accomplished, the pilot of the helicopter identifies himself over the radio with a Blackhawk ID. This is in line with Muir requesting "02 MH-60K" from Commander Wiley. Yet, the helicopters in use were not Blackhawks, but Hueys. See more »
If these walls could talk, huh. All this history, I envy you.
Then bag your job, you can be just like me.
No, really. The debt this country owes you guys.
Chuck, are you gonna dance with your hand on my ass all night or are you gonna make your move?
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In the opening credits, many of the credits are each preceded by a jumble of letters flickering on the screen. This may be a reference to the opening credit sequence of one of Robert Redford's earlier spy movies, Sneakers (1992). See more »
("Nour El Chams")
Written by Nikos Terzis, Tassos Vougiatzis
Additional lyrics for "Nour El Chams" by Adel Raffoul
Performed by Pascale Machaalani
Courtesy of Music Master International See more »
Tony delivers something I would have expected from brother Ridley -- a set of images about images:
--the photographic and editing style is one of successive photographs often shifted/zoomed with the shutter click; some black and whites, many color deprived.
--the hero's cover story is as a photo journalist and his photos are shown the same as the CIA's, Redford's recollections, and the 'narrator's.'
--The agency is primarily about images in real life, images and action and that's self-referentially played up here. Scott uses a style of zooming in and out by jump cuts that he developed on his last film -- also about images and the intelligence community. Lots of cameras and binoculars here.
--the dramatic action is global, involving several hotspots with lots of action. When viewing that action, the cameras are hand-held. When watching the calm, controlling scenes at headquarters, we see them more statically as they are being videotaped, often spying through blinds. (Spy = see.) Often the images have digital tags.
--Some of the field scenes with Redford and Pitt are shot as though from a spy plane (as in that swooping, sweeping shot on a roof) or if interior as seen through a hole.
--Lots of helicopter shots, and lots of helicopters. It seems every combination was employed among the following: ground, interior of heli, interior of second heli, front of heli, heli POV, above heli. This by itself is self-referential when you notice how many of the 'ordinary' shots are from helis.
There is also a clever self-reference in the casting. Pitt was hailed as the 'new Redford' when he appeared in 'Thelma and Louise,' by brother Ridley. Then in 'River Runs' he was directed by Redford, in a Redfordlike role, underscoring the relationship. Here, he also is mentored, but in my opinion outacts Redford at every turn. I believe Scott intended to use Redford's limits as a tired actor to the advantage of this reference. Pitt has been working hard in relatively minor but challenging roles and the results show.
The only real complaints are the clumsy plot mechanics: the last day before retirement -- a clear 24 hour to doom clock -- a wily and complete outwitting of the pencilnecks -- all the CIA analysts and technicians as outwittable dimmies -- a senior character says 'get everything we have on so and so' and 10 seconds later a secretary appears with the files in multiple copies -- a helicopter is shot down: it disappears behind the trees and then we see a fireball. Fortunately we gloss over all that stuff. Couldn't in 'Enemy of the State.'
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