Publicist Stuart Shepard finds himself trapped in a phone booth, pinned down by an extortionist's sniper rifle. Unable to leave or get help from the surrounding bystanders, Stuart negotiates with the caller that leads to a jaw-dropping climax.
Jerry and Rachel are two strangers thrown together by a mysterious phone call from a woman they have never met. Threatening their lives and family, she pushes Jerry and Rachel into a series of increasingly dangerous situations, using the technology of everyday life to track and control their every move.
Paul is a U.S. truck driver working in Iraq. After an attack by a group of Iraqis he wakes to find he is buried alive inside a coffin. With only a lighter and a cell phone it's a race against time to escape this claustrophobic death trap.
José Luis García Pérez,
Stu Shepard is a fast talking and wise cracking New York City publicist who gets out of trouble and lies with his clever charm, connections, and charisma. Stu's greatest lie is to his wife Kelly, who he is cheating on with his girlfriend, Pam. Upon answering a call in a phone booth in belief it is Pam, Stu is on the line with a dangerous yet intelligent psychopath with a sniper rifle. When realizing it is not a joke, Stu is placed in a powerful mind game of wits and corruption. The New York City Police eventually arrive thereafter and demand Stu comes out of the phone booth- but how can he when if he hangs up or leaves the booth he will die?Written by
The movie was originally set to be released on 15 November 2002. However, after the sniper attacks in Maryland, Virginia and Washington, D.C., 20th Century Fox decided to delay the release of the film. See more »
The caller's intent to frame Stu for the murder of the pimp is flawed in several ways. Firstly, Stu would have had no gunshot residue on his hand. Second, hollow-point bullets do not fragment on impact, but flatten out to achieve a larger wound, so there would've been a bullet left behind. Third, when investigating deaths by gunshots, the investigator fires comparison bullets to help match the bullet found in the victim or the wound caused by the bullet. Fourth, the entrance wound would show that the pimp was shot from behind, but when he was struggling with Stu they were face to face, meaning Stu couldn't have possibly shot him in the back from that position. See more »
[knocks on phone booth]
I'm tryna make a call here.
This is for you. Half pepperoni, half mushroom, extra crisp.
You ever heard of delivering a pizza to a fucking phone booth? I don't think so.
[Reads address label on Pizza]
Gentleman occupying phone booth, 53rd between Broadway and 8th.
It's a mistake.
What am I supposed to do with the pie? It's all paid for.
Homeless guy just ran the block, give him the pizza and say 'You can turn away from it but you can't make it go away', how's ...
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The 20th Century Fox logo blends into the white clouds that open the film. See more »
The FX Network airs this movie with Jared Leto's deleted scene reinserted to bring up the film's running time to fit a two-hour block. See more »
Stu Shepard is a press agent. By definition that means he is a liar. One day Stu tells one lie too many, and, as he stands in a phone booth, he finds himself at the mercy of a vicious but sardonic sniper who demands the truth from him.
"Phone Booth" is an absolutely terrific thriller. I was intrigued by the concept when I first heard about it: a film set almost entirely within the confines of a phone booth! Frankly, having little respect for director Joel Schumacher after his bloated Batman sequels and mindless Grisham adaptations, I didn't expect much, but I was pleasantly surprised. With every plot twist, I was on the edge of my seat wondering how the film makers were going to resolve the escalating situation without violating the internal perspective of the film. Schumacher and company always did so with great panache, but this film is more than a esoteric experiment in film making technique. It is a fast-paced, suspenseful thriller.
While much of the success of the film rests firmly on the shoulders of Colin Farrell, who plays wonderfully against the disembodied voice of Kiefer Sutherland, the real star of the movie is screenwriter Larry Cohen. Cohen, a crafty old veteran from the B-movie world, deserved an Oscar nomination for this inventive script which was so old that it was actually offered to Alfred Hitchcock. (I wish he would have tackled it!) Bravo, Mr. Cohen. Maybe it's time for me to start checking out your "Maniac Cop" films.
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