Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
Over a thirty-six hour period in Los Angeles, a handful of disparate people's lives intertwine as they deal with the tense race relations that belie life in the city. Among the players are: the Caucasian district attorney, who uses race as a political card; his Caucasian wife, who, having recently been carjacked by two black men, believes that her stereotypical views of non-whites is justified and cannot be considered racism; the two black carjackers who use their race both to their advantage and as an excuse; partnered Caucasian police constables, one who is a racist and uses his authority to harass non-whites, and the other who hates his partner because of those racist views, but who may have the same underlying values in his subconscious; a black film director and his black wife, who believes her husband doesn't support their black background enough, especially in light of an incident with the racist white cop; partnered police detectives and sometimes lovers, one Hispanic female ... Written by
Ryan Phillippe appeared in I Know What You Did Last Summer (1997) while Jennifer Esposito appeared in the sequel I Still Know What You Did Last Summer (1998). See more »
When Daniel is putting his daughter to bed, her pastel quilt twice changes position from the periwinkle patterned side to the square and rectangle side. See more »
It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.
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Producers gratefully acknowledge the valuable assistance of The Culbert Family; Members of the Actors Gym, Hollywood, California. See more »
This is a movie made with great intentions and a clear point to be made. Unfortunately on the way to making that point the filmmakers let the characters fall by the wayside. What we end up with is a blending of caricatures that fail to evoke sympathy because of their lack of realism. These characters exist simply to be racist and bitter and, with little exception, never show another side of themselves.
The acting is for the most part superb with great performances by Matt Dillon and Terrence Howard which helped to flesh out the shallow roles they were handed.
The plot twists and interaction between the characters were, for the most part, simple and manipulative. The one character we are set up to worry about is painted as saintly with no flaws, just a regular guy trying to do his best while everyone around him is a racist hate machine. There is one child in the film and she serves as a sympathy generating plot device and nothing else; we see no deeper aspect of her other than her fear.
All in all a technically well crafted film with high-quality performances that suffers from a contrived plot and mostly one-dimensional characters. There is nothing particularly striking or innovative in the film's visual style either. It certainly is not worthy of the title of Film of the Year.
If you are looking for films that explore the consequences of human interaction on a deeper level you may want to try 21 Grams which, while relentless and more complicated, is much deeper. You may also want to check out Magnolia, a film that is not only a deeper character study but a greater artistic achievement, both visually and emotionally.
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