Vietnam War vet Stephen Simmons must deal with a war of a different sort between his son and their friends, and a rival group of children. He also must deal with his own personal and ... See full summary »
Tom Farrell is a navy officer who gets posted at the Pentagon and is to report to the secretary of defense David Brice. He starts an affair with Susan Atwell not knowing that she is Brice's mistress. When Susan is found dead, Tom is assigned to the case of finding the killer who is believed to be a KGB mole! Tom could soon become a suspect when a Polaroid negative of him was found at Susan's place. He now has only a few hours to find the killer before the computer regenerates the photo.Written by
Sami Al-Taher <email@example.com>
Despite that Major Donovan (CID) calls Lieutenant Commander Farrell "sir", they hold equivalent Army/Navy pay-grades, respectively. See more »
After stealing the car from the Pentagon garage and leaving it to chase down the two contras, LCDR Farrell appears on the Whitehurst Freeway in D.C. heading east, as the Key Bridge connecting Rosslyn, Virginia and Georgetown is clearly seen in the background. However, by driving East on the Whitehurst Freeway, LCDR Farrell and the two contras are heading back towards the Pentagon, not away from it. See more »
Attention AFI -- show this film at the inevitable "Kevin Costner Lifetime Achievement Award Show." In this, Costner has good writing and solid co-stars to lean on and no opportunities for voiceovers or accents. Also, if anyone should need career clips for Sean Young, they can use this film to prove that she can indeed smile. She smiles beautifully in this film. Too bad her newer films don't show her doing much of that anymore. With that said, "No Way Out" is not the greatest film and unfortunately it is a victim of real-world incidents beyond its creators' control. The fall of the Soviet Union and the end of spy-junk filmmaking makes much of "No Way Out" seem contrived. Except for a few pat references, you can not now feel the presence of the off-stage Soviet bogyman that the plot depends on for so much of the tension. The ravages of time and perestroika highlight the simple and overused plot devices employed by the writers. However, the film makes good use of classic techniques -- the battle of good and evil, where evil has the upper hand until it makes a fatal mistake. The first half of the film is used to set up stock characters: Costner's naval officer is a hero; Young's kept woman has a heart of gold; Hackman's U.S. defence minister is an amoral and calculating bureaucrat. The second half sets the plot in motion with the mistress's death. Nothing is hidden from the audience. We know who is guilty and innocent. Tension builds as the righteous power of the law, manipulated by the guilty, gets ever closer to wrongfully identifying the innocent as the culprit. Then comes the surprise ending -- the innocent is indeed guilty, but of unrelated crimes. Characters, Scooby doo-like, are unmasked as the opposite of what they appeared. The camera dollies back ... credits roll ... the house lights come up ...
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