When the social security number of a young prosecutor comes up, Reese and Finch work together to figure out if their person of interest is the victim or perpetrator.

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After a scrape with a few hot-heads on the subway, homeless man and former government agent John Reese is offered a job by the somewhat secretive Mr. Finch. After 9/11, Finch developed a computer program that would sift enormous amounts of information, looking for patterns of behavior or activity that would predict another attack. It also provided information about individuals who could be in danger. Finch wants to do something about those people. The first on his list is Diane Hanson, an Assistant District Attorney currently working on a major prosecution. Reese agrees to help out and begins by watching her. It all leads to an unexpected conclusion. Written by garykmcd

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22 September 2011 (USA)  »

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Goofs

While at her office in Midtown, shown near the Empire State Building, Diane Hanson is told to meet her goons in Canarsie (far East end of Brooklyn) in 20 minutes - a typical 45 minute trip, more likely 1 hour in mid-day traffic. See more »

Quotes

Detective Joss Carter: I'm Carter. You didn't give us a name.
John Reese: You know, it's funny. Seems like the only time you need a name now is when you're in trouble. So am I in trouble?
Detective Joss Carter: I don't know, you tell me.
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Crazy Credits

The title card "Person of Interest" appears only at 12 minutes into the 44-minute episode. See more »

Soundtracks

Angel
Written by Robert "3D" Del Naja, Grant "Daddy G" Marshall, Andy "Mushroom" Vowles, Horace Andy
Performed by Massive Attack
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User Reviews

 
The Clint Eastwood Connection...
19 October 2014 | by (North America) – See all my reviews

The 60s film A FISTFUL OF DOLLARS has an opening scene where a mysterious gunman (actually called in the credits "the man with no name") rides into a small western town -- a town which, he has been warned, is not kind to strangers -- on a mule. As he enters, a bunch of nasty cowboys, sitting on a fence, pick on the stranger by shooting their guns to scare the mule, who takes off leaving Eastwood without a ride. However, instead of letting it go (the odds are four to one) Eastwood walks back to the bullies and demands they "apologize" to the mule, who is, he says, very "sensitive."

At first the gunsels don't believe Eastwood is serious, but, when they realize he is, they move for their weapons. In one of the greatest western shootout scenes ever filmed (ANY western, not just "Italian Westerns") Eastwood draws and kills all of them before they can get a shot off. The viewer, rather than hear single shots, hears all the shots as one continuous noise.

According to film lore, in theatres across Europe and the US, viewers (male viewers) jumped to their feet at the sheer exhilaration of this scene.

That film launched the Leone trilogy, which launched Eastwood, which launched the Dirty Harry and ANY WHICH WAY franchises, which brought us Eastwood the Director, which begat many films and Oscars.

All from a great opening.

POI has an equally great opening. And this is it.

Watching the subway bullies gang up on the drunken bum in the corner, and watching Reese take them out in about 40 seconds flat, is every bit as memorable as the opening in FISTFUL.

Which begat many seasons of POI.

And deservedly so.


5 of 6 people found this review helpful.  Was this review helpful to you?

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