Both movies involve a lead character who spends nearly the entire film stuck on the telephone as a prisoner to a sniper who threatens to shoot the lead if they move. In Phone Booth, Farrell plays a PR guy who is as cuddly as a piranha. His caller is obviously seeking revenge against him personally. In Liberty Stands Still, Fiorentino plays Liberty, the wife of a notorious arms dealer. Her tormentor, played by Snipes, is seeking revenge for the loss of a child killed by one of Liberty's husbands' guns.
The only major differences are 1) we see Snipes throughout the movie, while Kiefer Sutherland, who plays the corresponding character in Phone Booth, is unseen, and 2) Snipes is using Fiorentino's character to get back at her husband, not seeking revenge against her personally.
Phone Booth is a much better movie, although on its own, Liberty Stands Still has some merit. But if you have to choose, see Phone Booth first or only.
No one is horrible in this movie. It just doesn't stand up very well. If Poitier's black militant group had been more like the Black Panthers instead of what the Panther would have liked to have been, the movie might seem more of a product of its times. Instead, it comes like a black revolutionary fable. Interesting, but not compelling.
How realistic the knife fights are in this movie remains to be seen, although kali, the martial art used as the base for the fight scenes, is a powerful fighting style. But they are exciting to watch, and both Jones and del Toro inhabit their characters with enough gusto and panache that the movie can be very enjoyable to watch.
It definitely won't be everyone's cup of tea, but the Hunted will make lots of action movie and martial arts movie fans pleased and satisfied.
Those of us who love and adore the 1965-1968 television series I-Spy have many reasons to like it. We can like it because it was the first, and up to this point the best, of the buddy pairings that have become so commonplace in TV and movies. Think about it. As far as drama/comedies go, who were the first evenly matched hero team? Crockett and Tubbs weren't, and don't compare. And there isn't anybody else worth mentioning. The rapport between Kelly and Scotty has never been equaled. Spenser and Hawk come the closest.
Then there's the presence of Bill Cosby, who wasn't handed charity. He was given an opportunity and made the most of it. The three Emmys on his mantel attest to his skill and his popularity.
Then there's the location filming. And the fun. And the charm. and some great guest performances along the way. This was and is a great show. Terrific and timeless.
With a pairing of Pacino and DeNiro, and it coming off as well as it does, that would probably be enough for moviegoers. But add Val Kilmer, Ashley Judd, Dennis Haysbert, and the always interesting Tom Sizemore, and you have a cast without weakness.
Michael Mann, as he proved with Ali, knows what to do with a great cast. As he demonstrated in Last of The Mohicans, Miami Vice, and Manhunter, he has a visual flair that is unequaled in Hollywood. He's one of the few directors whose visual style identifies his films even if you don't know who's directing.
I am hoping that sometime soon, there will be a sequel using Pacino's character. It would be more than worth the wait.
This troubling, disturbing, haunting film is a classic, and a must-see for people who enjoy riveting stories, great performances, and who have more than a few questions about how governments discreetly solve their problems.
Bob Peck gives a tour-de-force performance that encompasses so many different emotions. He represents the average British citizen who finds himself caught up in events he cannot control, nor completely understand. Joe Don Baker is appropriately over the top as Jedburgh, and the rest of the cast sparkles with an adroit script and keen, sharp direction.
Scott Glenn and Toshiro Mifune give excellent and their usual intense performances as a budding samurai cum boxer and his instructor, bonding as the instructor is caught up in a clan feud with his brother.
This movie is good for three reasons. One reason is the normal steadfast performances of its stars. The second is the keen, insightful direction of John Frankenheimer, a grossly underrated director who helmed such classics as The Train, Ronin, and The Manchurian Candidate. And the third is the able kenjutsu (swordfighting)and aikido of a then unknown American martial arts instructor based in Japan who at the time was going by Steve Seagal. I guess I don't have to tell you who he grew up to be.
These "modern" westerns are distinguished by turning the "white hat good guy" and "black hat bad guy" on their ear. The good guys are not only not perfect, but ruefully flawed, and the bad guys are often people who made mistakes along the way and would not be a threat to society if they were left alone. Examples of other "modern" westerns are Unforgiven (The Clint Eastwood movie), Hang 'Em High (notice a pattern- another Eastwood movie), and Dances With Wolves.
Lancaster's Marshall Maddox is doing his job, but at this stage in his career, he is a walking, talking, killing machine who is ready to kill anyone who gets in his way, and some people who want very much to get out of his way. He is typical of the modern western. Where older westerns emphasized clear moral and ethical boundaries, modern westerns portray a world much less certain and easy to navigate. A world full of shadows and lots of gray ambiguities.
This is a perfect representation of how people felt in 1971. This is a very good film.
Leave it to Doug Liman, best known for Swingers, to put together a highly charged action movie with lots of energy and panache. Damon is good as Bourne, Franka Potente is sweet and charming as his unwitting and unwilling accomplice, and Brian Cox is always solid in his familiar "intelligence official caught up in a big mess" role that he has played in five or six movies already.
This is a very good movie and definitely the best adaptation of a Ludlum book so far, even with all of the changes.
My fears were all justified. Chamberlain is very poorly cast as Bourne. He is not believable in the action scenes, and he just isn't credible as Bourne. Overall, the movie outside of him is not too bad, but casting is everything or nothing, and in this case, it's nothing particularly good or convincing. Watch the theatrical version, which is much less faithful to the book, but a lot more enjoyable because Matt Damon is a lot more believable as Bourne.
Satire, comedy, science fiction, campy action...who knows, and better yet, who cares? Well, I know some do, but this is a movie for a select group of people who can watch it, go with the flow, and enjoy something that seems to have been made up on the spot.
Memorable only as a movie that becomes a "cult" classic, and reinforces some of the less than positive meanings of the word. Not a memorable satire, not a great science fiction movie, not a great action movie, not a great...well, you get the picture, and maybe you shouldn't...
As a thriller, the movie keeps you interested by watching Sinatra's character try to hold it together as he begins to piece the conspiracy together. His fight scene with the always dependable Henry Silva is on the earliest displays of martial arts fighting in modern cinema.
As a satire, the movie savagely spoofs the insanity and lunacy of the McCarthy era, when just an accusation of communism could create panic and sensation. The 2004 remake, even with Denzel Washington and meryl Streep, has its work cut out for it.
But it's not. I'm not sure whether the good parts were edited out, the original script was thrown out, or whether the writers and director didn't know what to do with such a great cast, bu Warlock manages to waste the efforts of everyone involved. Fonda and Quinn seem to be channeling a Earp/Holliday kind of relationship that is not explored or depicted in enough depth to make you care about what happens during the course of the film. Richard Widmark is sturdy as always, but there is just a strong sense of a wasted opportunity while watching this film.
Kirk Douglas is outstanding as the uncompromising sheriff on a mission of revenge when his Native American wife is killed by the spoiled son of a lifelong friend. Anthony Quinn is excellent as the hardbitten rancher who respects Douglas' character more than anybody (and whose life he saved in their youth), but who behaves one as a protective father, and two as a man who is rich and powerful, and used to getting what he wants. Carolyn Jones is also great as a woman caught in the middle of the two men.
No cop-outs, no easily resolutions. Just a great movie with a great cast.
Great performances by Fonda as the grizzled veteran lawman/bounty hunter, Tony Perkins as the green, inexperienced town sheriff, John McIntyre as the town's doctor, and Neville Brand as the town bully. It is thoughtful and powerful, and displays a sense of right and wrong that is strong and uncompromising.