An ex-CIA agent and his estranged daughter are forced on the run when his employers erase all records of his existence, and mark them both for termination as part of a wide-reaching international conspiracy.
After twenty years in prison, Foley is finished with the grifter's life. When he meets an elusive young woman named Iris, the possibility of a new start looks real. But his past is proving to be a stubborn companion.
Abigail Clayton lives alone. Very alone. In fact, the attractive heiress has not left her Manhattan loft apartment for almost two decades. The famous daughter of a wealthy industrialist, Abigail disappeared from the prying eyes of the press and the intrusiveness of her family on her 18th birthday, the day she received her massive inheritance. During years of self-imposed isolation, Abigail has had contact with only two people-her building's Concierge, Klandermann, with whom she communicates via notes-and Dr. Raymond Fontaine, a longtime family friend and her sole confidant for most of her life. When the death of her elderly neighbor prompts NYPD Homicide Detective Frank Giardello to launch an investigation, the agoraphobic Abigail is distressed to find him outside her door, asking to question her. Having tried to acquire the dead woman's now vacant apartment to ensure her privacy, Abigail is further upset when her requests go unanswered, and new tenants Lillian and Charlie move in. ... Written by
George Gallo & Kevin Pollak
When I accessed the reviews for Columbus Circle, I couldn't believe all the negativity surrounding this production. Apparently, after this was made, there was no studio willing to release it theatrically. It went straight to video. I sometimes don't listen to the multitude of reviews that surround a certain film, preferring to make my own opinion. After viewing this, I found it to be a surprisingly good and watchable film with a good story, good acting and good directing. This was an original story which had a good denouement, very satisfying. I suppose that there was not enough sex and violence in this production to serve the prurient tastes of the mass audience. Tastes have changed much in recent years and I guess that there isn't much of an audience for a film that does not rely on CGI effects or gratuitous sex and violence. I even liked the main title sequence, which would not have been out-of-place on a suspense film made in the fifties or sixties. Maybe I'm in the minority here, but I liked this.
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