6 user 4 critic

Hall of Mirrors (2001)

A desperate gambling addict. A ruthless team of con men. One point five million dollars. Let the game begin.


Brad Osborne


Brad Osborne


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Cast overview, first billed only:
Eric Vale ... Dylan Hewitt (as Eric Johnson)
Julie Arebalo ... Mara Payton
Patrick Jordan Patrick Jordan ... Alex
Halim Jabbour Halim Jabbour ... Haze
Dameon Clarke ... Agent Riley
Tim Shane Tim Shane ... Vincent
Kenyon Holmes Kenyon Holmes ... Thug
Shawn Devorse Shawn Devorse ... Harry Delgato
Hollie Stenson ... Loan Officer
Kate Kemp Kate Kemp ... Woman at ATM
David Jewell David Jewell ... Robert Bishop
Chip Joslin ... Blackjack Dealer
Jessica Osborne Jessica Osborne ... Design Store Clerk
Mirelly Taylor ... Bank Representative (as Ruth Osuna)
Phil Harrington Phil Harrington ... Bartender


Dylan Hewitt is a young, desperate gambling addict plummeted into financial ruin. That is until a strange, anonymous caller - who happens to know every intimate detail of Dylan's life - offers a unique solution to his problems. Lured by the promise of easy money and the beauty of an enigmatic woman, Dylan enters a lurid underworld of counterfeiters and con artists, where he becomes the unwitting pawn in a scheme far more elaborate and ruthless than he could have ever imagined. Written by Innuendo Films

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The game of deception has but one rule: There are no rules. See more »







Release Date:

31 January 2001 (USA) See more »

Filming Locations:

Dallas, Texas, USA See more »

Company Credits

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Technical Specs



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Did You Know?


Haze: Just remember, Hewitt: a man needs only to be turned around once with his eyes shut in this world to be lost.
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User Reviews

"Mirror" Doesn't Crack
22 March 2001 | by jha929See all my reviews

Good suspense films can often be like compliments. They're not that frequent, but you really savor them when they surface. That said, the only thing harder to make than a good suspense movie may be a good low-budget, independent suspense movie. Somehow, against the odds, Brad Osborne has managed to pull it off with his debut picture, `Hall of Mirrors."

My preface for the rest of this article is this: I will probably often refer to this as a `film' even though it's not shot on film. In today's world of digital `filmmaking' this hardly bares worth mentioning. Then why do I mention it? Because Osborne and his crew have managed to shoot this project with a `film look' that lets you forget you're watching something that originated on videotape. In fact, the quality of the whole production is such that you're able to concentrate on the content of the story instead of the production value. If you've seen many low budget or independent films, you can appreciate how this enhances your chances of enjoying the movie.

There are many homages to the more popular filmmakers of the suspense genre in the film. Polanski, Mamet, even a Hitchcock cameo by the director. It follows the usual formula of the multiple-plot-twists-and-games-of-viewer-deception to the tee. What makes the movie good, though, is that the pacing, while brisk, is just herky-jerky and non-conventional enough to keep you guessing a little. Even if you figure out who you can trust, and who's conning who, you're never quite sure exactly when or in what scene it will become apparent to the characters. This and some clever dialogue in some scenes is what will hold you when you watch this picture.

The main character of the movie, `Dillon," is a life long loser with a serious gambling problem. In his attempts to wipe out his debt, he manages to dig a deeper and more dangerous hole for himself to climb out of. He's very much an anti-hero. While you don't necessarily empathize with his problems, you can certainly grasp the scope of them. Watching his spiral into a state of desperate measures, the audience will find itself wrapped up in his struggle to get control of his situation, and his life. It's hard to say too much about the story without giving away any of the more crucial plot points, but the ending of the film is where it makes its stake for being a very `non-formula' script.

A peppy script and tight editing are what ultimately sell this movie to the audience as something far more enjoyable than the average independent spare.

The production, while good, obviously took a back seat to the characters and plot development of this picture. A lesson that Hollywood could do itself a big favor to learn.

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