Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
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
Late-1990s vintage computers and monitors appear in the scenes set in 1985 (the embassy in Beirut) and 1991 (the CIA headquarters). See more »
[to Duncan over the phone]
If I'm walking into a shit storm I wanna know which way the wind's blowing.
See more »
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 »
Four Seasons Concerto No. 1 in E Spring
Written by Antonio Vivaldi
Performed by Nigel Kennedy / English Chamber Orchestra
Courtesy of EMI Records Ltd.
Under license from EMI-Capitol Music Special Markets See more »
Spy Game is everything we're not supposed to expect from a major Hollywood movie: engrossing, intelligent, well written, acted and directed. But that's just what it is and more, this is definitely the best thing I've seen since Memento. Although Pitt is really good and Redford plays himself as well as he has in years, I think the most credit should go to Tony Scott. In the hands of a lesser director this could have been something more like Mission Impossible. But Scott stays right on target, keeping us interested, developing the characters, and keeping the pacing nearly perfect. Scott also shows us that he's stayed with the times: he employs the full array of modern camera tricks like fast motion, reverse zooms and funky lenses but in a way that actually makes the film better instead of being an annoying distraction. The dialogue feels natural, all the actors do good work, no one tries to steal the show or be the star. The story is interesting and almost never lapses into the kind of hyper violence or sappy sentimentality one has come to associate with modern studio pictures. You get a feeling this is pretty close to how the CIA really operates, a place with fantastic technology at its disposal but who's ultimate effectiveness is determined by the fallible people who run the missions and take the chances. I really enjoyed this film, I hope it's a sign of things to come and not a rarity.
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