When a sports agent has a moral epiphany and is fired for expressing it, he decides to put his new philosophy to the test as an independent agent with the only athlete who stays with him and his former secretary.
Cuba Gooding Jr.,
As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom.
Mitch McDeere is a young man with a promising future in Law. About to sit his Bar exam, he is approached by 'The Firm' and made an offer he doesn't refuse. Seduced by the money and gifts showered on him, he is totally oblivious to the more sinister side of his company. Then, two Associates are murdered. The FBI contact him, asking him for information and suddenly his life is ruined. He has a choice - work with the FBI, or stay with the Firm. Either way he will lose his life as he knows it. Mitch figures the only way out is to follow his own plan...Written by
Mark Harding <email@example.com>
The cars of the Mud Island monorail leave and arrive at opposite ends at the same time. It would be impossible for the man following McDeere to leave his car and begin running for the other side before McDeere left his car. See more »
In the scene when Mitch is at the Cayman Islands, and is talking to his new client Sonny Capps about tax representation, there is a line that had a strange overdubbing. Mitch's line "You'd feel like you were fucked with a dick big enough for an elephant to feel it" was re-shot for television. In the TV version, the line was replaced with "You'd feel like you had a prostate exam with a beach umbrella to feel it." See more »
Can a thriller about lawyers thrill? Beware a plot filled with technical twists.
The Firm (1993)
The twist in the plot as you realize this Memphis law firm is not what it seems, and the rather innocent freshman lawyer played by Tom Cruise is slow to catch on, is the core of the movie, and a relief. It starts steadily, or slowly, depending on your patience, and in fact plays many scenes out in more detail than we need for a kind of bookish thriller. It's not a bad ride, and there are some further, minor twists, but it's not packed tightly enough, or frankly original enough, to lift its boots out of the sand.
Director Sydney Pollack, hugely successful as a director and actor, might have just had bad scriptwriting here by David Rabe, because John Grisham's book had proved itself. The acting is really solid (I'm no Cruise fan, but he's fine), but the characters are often doing things that just don't quite follow, or that are improbable or stupid. Or they end up doing something dangerous and the danger is either watered down or ridiculous. Examples that come to mind are how they show Cruise discovering or stealing or xeroxing files. We get the plot, but it lumbers along, or is just shown, not built up with suspense. The cinematographer takes a hit here, I think. Things are often nicely framed and routinely well done, but a thriller needs to hide some things, show some things, create ambiance and mystery, and so on, visually. It doesn't really happen.
So, for a kind of technical high-stakes, rich person's good-guy bad-guy suspense film, it will get you through, but barely. By the last five minutes, if you aren't sucked in, you'll want to scream "hurry up!"
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