An eager and idealistic young attorney defends an Alcatraz prisoner accused of murdering a fellow inmate. The extenuating circumstances: his client had just spent over three years in solitary confinement.
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Retired cop Eddie Burns gave 15 years and the use of his left arm to the Reno homicide squad. When his wayward sister, Kassie, goes missing Eddie Burns finds himself subjected to a fiendish and ingenious campaign of revenge by the mysterious Charlie Strom. In order to protect his sister, Eddie - disabled, betrayed and alone - journeys into the heart of his own darkness: where he discovers that the reason for his ordeal lies in his own past sins and those of his adversary Charlie Strom. Written by
Gary Oldman described this as 'the worst movie ever made'. He did this film because he had taken time off work and had just gone through a divorce. See more »
When Kassie draws a circle on the mirror with her lipstick the circle changes shape between shots. See more »
[quoting the opening and closing lines of John Donne's sonnet "Death Be Not Proud"]
Death be not proud, though some have called thee / Mighty and dreadful, for thou art not so;... One short sleep past, we wake eternally, / And death shall be no more; Death, thou shalt die.
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Much of the film content of "Sin" is excessively violent and unpleasant. The screenwriters have also shamelessly recycled one of the classic screen thriller moments from the hall of mirrors scene in "The Lady From Shanghai." And was it not possible to come up with a more imaginative title than "Sin"? Yet there is one compelling reason to see this movie, and that is for the performances of Ving Rhames and Gary Oldman.
In the same way that the film "Heat" established a dynamic duel between Al Pacino's detective and Robert DeNiro's thief, the most interesting scenes in "Sin" are those that bring together the ex-cop (Rhames) and the sleazy drug lord (Oldman). The plot concerns the maniacal acts perpetrated by Oldman's character, who is pursued by Rhames' character, the former cop who lost part of his arm and all of his idealism after a shady police arrest and illegal interrogation of an alleged cop-killer.
There is one riveting moment when in the middle of an action scene, the characters discourse on the topic of conscience. In this conversation, our perception of both Rhames' and Oldman's characters change when we realize that one of the characters is totally without conscience and the other has been driven by the human emotion of guilt. But this moment remains buried among predictable and even cliched action scenes piled one on top of another.
If the film could have just focused on the internal development of the two principal characters, eliminating the violent action sequences, it would have been more watchable and more memorable. There is something special about these two exceptional actors, however, that enables Rhames and Oldman to rise above the material.
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