In suburban Reston, Virginia, George Washington University American History professor Michael Faraday is still mourning the death of his wife, FBI agent Leah Faraday, after three years. His inside knowledge of the agency colors what he teaches in his classes. Although on good terms with Leah's ex-partner, Whit Carver, and the agency in general, Michael wants the agency at least to acknowledge their responsibility in her death in the line of duty. Michael is moving on with his personal life, he being in a serious relationship with his former teaching assistant Brooke Wolfe. Although he likes Brooke, Michael and Leah's nine year old son, Grant Faraday, may not yet be quite ready for Brooke to be a permanent part of their lives. It is only in helping adolescent Brady Lang who he sees in medical distress that Michael meets his new neighbors, Oliver and Cheryl Lang, Brady's parents. In the process, Michael and Brooke becomes friends with the Langs, as Grant and Brady become friends. ...Written by
The script for this film, written by Ehren Kruger, was discovered when it won the Nicholl Fellowship Screenwriting competition from the Academy of Motion Picture Arts and Sciences. It is only the sixth winner of the competition to actually be produced. See more »
The "St. Louis Federal Building" discussed at 21:00 in the classroom is actually showing the 25 June 1996 aftermath of the Khobar Towers in Saudi Arabia. 19 US military were killed in this attack. See more »
You can't ask government to be infallible, but you can ask it to be accountable.
I can ask it to be honest.
You know, when Leah died, all I wanted was someone to tell me, "We made a mistake." You know? "We made a mistake. Your wife suffered for it, and we'd take it back a hundred times if we could." But they don't say that. She would've.
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The DVD release contains an alternate ending showing Grant and Oliver having a conversation that hints that Grant may know the truth about what happened to his father. See more »
This incredible, paranoiac, pseudo drama demands the viewer to have paid for his popcorn with his brain.
The story also requires a combination of incredible coincidence and a truly paranoid sense of an enemy's (whosoever it may be) cunning, perfection, and evil to succeed.
The ending is neither spellbinding, gripping, nor cleverly constructed. The chase was pedestrian and agonizing. I wish I could discuss the ending in more detail but afterwards I suggest that the viewer, if one is foolish enough to waste one's money in attending or time in staying to the end, stop and realize all the coincidences that were necessary for the plot to have resulted in the end result---all of the incredible machinations that had to take place. And that means it started at the beginning; if so, what was all that nonsense at the end about?
If ashes or skeletons can vomit, Hitchcock will be vomiting in his grave at the comments by some that there is any suspense or that the twist requires anything less than absolute gullibility of the audience to succeed.
I do not usually comment--especially negatively--but I was angered by the insult to intelligence and good taste that this movie was.
It was a profoundly silly plot; the acting was wasted. The politics idiotic; the moralizing, unbelievable. This was a made-for-TV piece of junk which for some unknown reason has been expanded to the big screen. What a waste!!!! Not only have I added the director to my "avoid-like-the-plague" list but I am not sure I will ever trust the person who dragged me to the film again. Oh well, she will get a bye this time.
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