SPOILERS
>
> Maybe so for most of the problems, but the
detail
> which kicks Foxx's
> character out of passivity is seeing that
the
> Federal prosecutor is #5
> on the hit list.
I liked this movie a lot; I think there are some contrivances
but think the acting and direction help rush past them. I
also think you have to accept some contrivances in a
Hollywood thriller (or really any kind of "thriller"): any of
them fall apart if you stare at them too hard.
Just briefly: Foxx is moved out of his passivity not by the
revelation that the prosecutor is #5, but the death of the
cop. That's when he cracks up his cab, remember. The big
twist kicks the movie into the climax, but Foxx is starting
to assert himself earlier.
This creates two problems which
> mentally threw me out
> of the film: 1) prosecutors don't get hit in
the
> US, and 2) Cruise
> already knew about her. She was the first
target,
> and he had already
> visited the building looking for her at the start
of
> the film. In fact
> Foxx only met him because he was coming out of
her
> building after not
> finding her. It ruined the film for me.
Well, each his own. It is contrived, yes, but it didn't
bother me overmuch. And once they get into the cab it doesn't
make much difference. (I'm also not sure about your
description of the details, but I haven't seen it since the
summer, so you might be right.)
I think the obvious inspiration isn't LE SAMOURAI (a great
movie, but doesn't have much to do with this, IMHO) but
rather the Pacino/De Niro meeting in Mann's own HEAT.
doug
>
===== Doug Bassett
dj_bassett@yahoo.com
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This archive was generated by hypermail 2b29 : 28 Dec 2004 EST