Sleight of Film

Today’s quick review: Reasonable Doubt. Mitch Brockden (Dominic Cooper), a successful prosecutor, makes the mistake of his life when he strikes and kills a pedestrian while driving drunk. To make matters worse, Clinton Davis (Samuel L. Jackson), a passing motorist, is set up to take the fall. But as Mitch wrestles with his conscience and looks for a way to sabotage the case against Clinton, he learns Clinton may not be as innocent as he seems.

Reasonable Doubt is a crime thriller about a lawyer caught between an admission that could ruin his career and allowing an innocent man to go to prison in his stead. The movie explores both the moral dimension of Mitch’s case as well as the practical one when the investigation turns up skeletons in Clinton’s closet. In spite of a promising premise, Reasonable Doubt fails to capitalize on its strengths.

Unfortunately, Reasonable Doubt does not have enough meat on its bones. The moral dilemma that drives the early portion of the movie quickly falls by the wayside, and the investigation that replaces it is not nearly as compelling. The movie does have a knack for placing Mitch in tough situations, and he never keeps an advantage for long, but none of the later challenges he faces are enough to carry the movie.

The result is a thriller with some interesting scenarios but not a lot to go on overall. Reasonable Doubt succeeds in backing its protagonist into a corner, but it has a hard time figuring out what to do next. Reasonable Doubt is an adequate pick for those interested in its premise and in the crime thriller genre in general, but it finds itself outclassed by movies that can string out their ideas with more skill.

For a much more elaborate legal drama that involves difficult questions of guilt and innocence, check out Primal Fear. For a more horrific movie about some of the same themes, try The Machinist. For another brush with a potential killer, try The Little Things.

[5.7 out of 10 on IMDB](https://www.imdb.com/title/tt2304953/). I give it a 6.0 for a decent plot that does not hit as hard as it could have.

Today’s quick review: Cliffhanger. Gabe Walker (Sylvester Stallone), a rescue climber wracked with guilt over a woman he failed to save, answers the call one last time, venturing out with Hal (Michael Rooker) and Jessie (Janine Turner) to save a group of trapped hikers. Instead they find Eric Qualen (John Lithgow), a criminal mastermind who forces the climbers to locate $10 million in stolen cash that he lost in the mountains.

Cliffhanger is an action thriller starring Sylvester Stallone. Three mountain climbers unwillingly help a group of criminals recover three suitcases of Treasury bills that landed in the Rockies after a botched midair robbery. As the criminals and their hostages trek across the Rockies in search of the cases, Gabe looks for a way to escape and get help. Cliffhanger offers plenty of a particular kind of action, making it a fun but basic watch.

Cliffhanger uses its setting to good effect. Nearly all of the action scenes take advantage of the mountains in some way, from deadly avalanches and perilous climbs to sledding downhill and spelunking in caves. A consequence of this is that there’s less gunplay than other action movies, but the villains and the mountains provide enough threats to keep the heroes on their toes.

Cliffhanger has a few notable weaknesses. Qualen makes for a mediocre villain whose unsuccessful track record undermines his status as a mastermind. His decisions almost always come back to bite him, and the plot is too reliant on his mistakes. Furthermore, Cliffhanger only invests the bare minimum in its characters. Promising tensions between Gabe, Hal, and Jessie amount to nothing as the movie pivots to focus on its action.

Give Cliffhanger when you are in the mood for action, plain and simple. The mountain climbing gives Cliffhanger just enough of an angle to set it apart, while some solid stunts and a serviceable plot are enough to make it an entertaining watch. However, the movie is neither as explosive nor as well-rounded as the best entries in the genre. Anyone looking for subtlety or a complex plot should steer clear.

For a combat-oriented action movie about a hero dealing with the wrong end of a hostage situation, try Under Siege. For an action movie with similarly straightforward appeal, try Eraser. For an action thriller with a broadly similar villain, try Hard Rain.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt0106582/). I give it the same for pure, honest action.

Today’s quick review: Stealth. Navy pilots Ben Gannon (Josh Lucas), Kara Wade (Jessica Biel), and Henry Purcell (Jamie Foxx) are part of an elite unit equipped with the latest stealth fighters. Their mission changes when Captain George Cummings (Sam Shepard) assigns them a new wingman: an advanced AI named EDI (Wentworth Miller). But when EDI malfunctions and goes rogue, it is up to the human pilots to stop it before its actions kick off a war.

Stealth is a sci-fi action thriller about a drone AI that begins picking its own targets, forcing its fellow pilots to take desperate measures to bring it down. Stealth uses this setup as an excuse for action. Dogfights in futuristic planes, risky bombing runs, and the question of what to do with EDI all give the movie plenty of cheap thrills. The movie supplements these with some brief speculation on automation and the future of warfare.

However, Stealth’s main failing is that it doesn’t have much tact. The plot is simultaneously far-fetched and predictable, relying on contrived logic that has too much in common with other rogue AI stories. The characters are similarly shallow, with just a smidgen more development than the minimum required by the plot. None of this keeps the movie from being enjoyable for the right viewer, but it does make Stealth much more flash than substance.

Give Stealth a shot when you are in the mood for pure action with a simple plot. Stealth does not bring anything new to the table either in terms of its style or its story, but between its aerial combat and an amusing premise, it will entertain action fans who have their expectations set accordingly. Skip it if you are looking for a cerebral thriller or an in-depth look at the perils of AI.

For a more creative thriller about a rogue military AI, try WarGames. For a far-flung science fiction film about an AI that turns on the humans it is meant to serve, try 2001: A Space Odyssey. For a more colorful movie with a similar flavor of adventure, try G.I. Joe: The Rise of Cobra.

[5.1 out of 10 on IMDB](https://www.imdb.com/title/tt0382992/). I give it a 6.0 to 6.5 for a decent action and a basic but serviceable plot.

Today’s quick review: The Net. Security analyst Angela Bennett (Sandra Bullock) becomes the target of cyberterrorists when a coworker sends her a disk containing a backdoor to a popular security program. Angela returns from vacation to find her identity stolen, her house cleared out, and Jack Devlin (Jeremy Northam) gunning for her. With every computer a weapon to be used against her, Angela must find a way to escape Jack and uncover the truth.

The Net is a cyber thriller starring Sandra Bullock. The movie explores the dangers of a world that is increasingly reliant on computer systems when those systems are insecure. Angela, a loner by nature, has no one she can turn to when every official computer system makes her out to be a liar and a criminal. The Net features a solid thriller plot and a good angle for its story, but it suffers from a passive protagonist and unclear rules.

The Net’s main appeal lies in the trap it sets for Angela. With access to nearly any computer system, Jack and his allies are able to turn everything from the medical system to the police against her, with no way for her to prove her innocence. The movie comes up with clever applications of this power, and Angela is left with barely any resources to fight back. Backing up her predicament is a decent plot about a cyber conspiracy.

Where The Net falls short is that it does not give Angela enough agency. Angela is slow to figure out her situation and even slower to fight back. Instead of pitting Angela’s skills against her foes’ on the digital battlefield, the movie opts for a conflict that is almost entirely one-sided. To make matters worse, parts of the story are unclear, including the rules of the computer systems and who, beyond Jack, Angela is fighting.

How much you get out of The Net will depend on how willing you are to put up with its weaknesses. Viewers who are willing to watch Angela flounder for a while will enjoy The Net for its decent plot and the ways it comes up with to abuse computer systems. But viewers who are hoping for a full-blown battle of wits will be at least somewhat disappointed.

For an even more exaggerated take on computer hacking, try Hackers. For a cyber thriller with a more thoughtful plot, try Sneakers. For a sci-fi thriller with more action and a similar setup, try Paycheck. For a more conventional thriller that lays a similar trap for its protagonist, try Enemy of the State or Double Jeopardy.

[6.0 out of 10 on IMDB](https://www.imdb.com/title/tt0113957/). I give it a 6.5 for a promising setup held back by an ineffectual protagonist.

Today’s quick review: The Pelican Brief. Following the assassination of two Supreme Court justices, law student Darby Shaw (Julia Roberts) pieces together a theory about who is to blame. But when her report gets into the wrong hands, Shaw ends up running for her life from someone trying to silence her. Unsure of who to trust, Shaw turns to Washington Herald reporter Gray Grantham (Denzel Washington) to help her prove her theory.

The Pelican Brief is a thriller based on the novel by John Grisham. A young law student lands in the middle of a cover-up when her idle speculation on a pair of political assassinations hits the mark. The Pelican Brief follows Darby through several attempts on her life as she tries to deliver her story to Gray, a dogged and resourceful report. Solid plot work and an interesting hook give the movie legs, but it suffers from slow pacing.

The Pelican Brief’s best feature is its plot. The movie takes a fairly standard setup for a thriller—an innocent woman being targeted by unknown assailants—and grounds it in the specifics of the assassinations that kick off the plot. Lies, killers, political scandal, and a bombshell report all come together for a satisfying story. The Pelican Brief also features believable characters and a couple of clever twists.

But the complexity of its story is also a double-edged sword. Much of the tension comes from leaving the audience in the dark, so the movie does not even touch on the identity of the culprit, something known to most of the cast from the beginning, until its last third. The case also drags on too long. Well after the initial thrill wears off, The Pelican Brief is still throwing needless obstacles in Darby and Gray’s way.

The Pelican Brief is a fine pick for those interested in the weightier side of the thriller genre. The detailed setup of its story gives it a clearer identity than similar thrillers, but it also bogs the story down with extra tangents and little mysteries that do not contribute to the main plot. Give it a shot if you are willing to invest the effort to follow it until the end. Skip it if you are looking for more straightforward thrills.

For a legal drama adapted from a John Grisham novel, try The Rainmaker. For an action thriller about a conspiracy at the highest levels of government, try Shooter, Enemy of the State, or The Bourne Identity. For a classic thriller that gets at something similar, try Three Days of the Condor.

[6.6 out of 10 on IMDB](https://www.imdb.com/title/tt0107798/). I give it a 7.0 for solid characters and an interesting plot that drags on a little too long.

Today’s quick review: Intrusion. After a bout with cancer, Meera Parsons (Freida Pinto) and her husband Henry (Logan Marshall-Green) move to a remote Southwestern town for a fresh start. Their newfound tranquility is shattered when a trio of locals breaks into their house at night. But the real damage is done when, in the aftermath of the incident, Meera learns that her husband has been keeping dangerous secrets from her.

Intrusion is a crime thriller about a couple dealing with the fallout of a home invasion. Beginning with an argument over Henry’s actions the night of the incident, Meera grows more and more suspicious of her husband, eroding the trust built over 12 years of marriage. Intrusion spins this premise into a tidy mystery with a fair amount of tension. However, a slow start and a restricted plot keep the movie from making a major impact.

Intrusion benefits from an intriguing story and solid direction. The clues that Meera follows are ambiguous enough to leave doubt but worrying enough to drive a wedge between her and her husband. The movie does a good job of capturing this tension, using camerawork and music cues to reflect Meera’s suspicions and inject anxiety into a mundane setting. Still, there are no major scares, and the movie pulls a few punches to keep from getting bleak.

Intrusion shows some weakness around the edges. The early stages of the plot do not lead into the rest of the story very smoothly, yielding an awkward introductory period where the audience is not sure what to focus on. The scope of the plot is restricted, which limits the number of other characters the movie can bring in and the number of twists it can support. Finally, Freida Pinto and Logan Marshall-Green lack chemistry as a couple.

Intrusion is a fair pick when you are in the mood for a slow-burn mystery in a domestic setting. The movie scores some modest hits with its mystery, its acting, and its presentation. However, it gets off to a weak start and ends up hampered by its narrow premise. Intrusion lacks the complexity of the best mysteries and the shock value of the best thrillers. Give it a shot if you are in the right mood, but do not expect it to break the mold.

For a thriller that tackles similar ideas with more skill, try Gone Girl. For a more dedicated thriller about a home invasion, try Hush. For one that is more action-oriented, try Death Wish. For a crime thriller about a marriage gone horribly wrong, try Till Death or Double Jeopardy.

[5.2 out of 10 on IMDB](https://www.imdb.com/title/tt5563324/). I give it a 6.0 to 6.5 for decent craftsmanship and a limited plot.

Today’s quick review: Momentum. After a Cape Town bank robbery goes bad, Alexis Faraday (Olga Kurylenko) prepares to leave the country until the heat dies down. But when Mr. Washington (James Purefoy), an enforcer working for a United States senator (Morgan Freeman), kills her partner to recover an incriminating USB drive, Alexis retaliates by stealing the drive and using it as a bargaining chip to guarantee her safety.

Momentum is an action movie starring Olga Kurylenko. Wanted by the police and hunted by trained killers, Alexis must use every trick at her disposal to stay one step ahead of her enemies. Momentum places its action first and foremost, pitting Alexis’ wits and combat abilities against the superior numbers and resources of Mr. Washington’s team. The end result is a basic but enjoyable action flick with one or two treats for fans of the genre.

The most distinctive aspect of Momentum is James Purefoy’s performance as Mr. Washington, a talkative and somewhat sadistic operative who treats Alexis with a grudging respect. Purefoy brings just the right sort of charisma to the part, and the movie gives him ample opportunity to grandstand. For her part, Olga Kurylenko makes for a passable heroine, striking a nice balance between hyper-capable and overwhelmed.

Still, Momentum has some predictable limitations. The movie shows very little of Morgan Freeman, using his character to motivate the plot with next to no personal involvement. The plot only makes sense at a superficial level; anything more than a cursory glance reveals holes in its logic. Finally, Momentum misses the chance to develop its lead, only dipping briefly into her background and instead using her as an agent of retribution.

With solid fight choreography and a plot that never lets up for long, Momentum will satisfy fans of the budget side of the action genre. More critical viewers will have a hard time getting past some of its storytelling choices, however, including one or two glaring plot holes and an over-reliance on the villain to drive the dialogue. Give it a shot if you’re just looking for some action. Skip it if you’re looking for more than that.

For an action movie in a similar vein, try Haywire or Close. For one that revolves around a bank robbery, try Takers or Marauders. For a much more polished action thriller involving a corrupt public official, try Shooter or Enemy of the State.

[5.5 out of 10 on IMDB](https://www.imdb.com/title/tt3181776/). I give it a 6.0 to 6.5 for decent action with few frills.

“No respectable gentleman is that respectable.” —Edward Pierce

Today’s quick review: The Great Train Robbery. In 1855, Edward Pierce (Sean Connery), a cunning thief, sets out to do the impossible: steal a shipment of 50,000 pounds worth of gold from a moving train. With the help of his faithful accomplice Miriam (Lesley-Anne Down) and Agar (Donald Sutherland), a talented pickpocket, Edward hatches a plan to copy the four keys needed to unlock the safe the gold is being transported in.

The Great Train Robbery is a crime drama written, directed, and based on the novel by Michael Crichton. Loosely based on real events, the plot follows Pierce and his crew as they attempt a series of daring burglaries to set up for the main event. The Great Train Robbery features a nicely elaborate plot and an impressively faithful setting. However, some peculiarities with its tone and characters will diminish some viewers’ enjoyment.

One of the major draws of The Great Train Robbery is how seemingly faithful it is to its era. Everything from the costumes to the architecture to the paraphernalia of daily living is recreated in loving detail. The heist is also firmly rooted in its era, with a plot that plays on the technology and societal circumstances of the time. With clever plans and setbacks in equal measure, The Great Train Robbery delivers the robbery it promises.

Where the movie is a little shakier is in balancing its tone. It bounces from low-stakes comedy to serious drama on a whim without fully settling on either end of the spectrum. The movie also lands in an awkward position with its characters, who are unrepentant thieves with just enough charisma to make them worth following. Between a couple of tonal leaps and heroes who are anything but, the movie can be a rockier watch than other heist films.

Give The Great Train Robbery a shot if you are a crime fan who’s willing to take the plunge into a historical setting. The work the movie puts into its setting makes it an immersive watch, while its plot brings a few new ideas to the genre. The only sticking points are its unredeemed characters and its lack of flashiness compared to heists using modern technology.

For another adaptation of a high-profile British robbery, try The Bank Job or King of Thieves. For a more modern British heist in the same vein, try Flawless. For a heist movie with a flashier style and a more comedic bent, try Ocean’s Eleven.

[6.9 out of 10 on IMDB](https://www.imdb.com/title/tt0079240/). I give it a 6.5 to 7.0 for a detailed setting and an interesting plot.

Today’s quick review: The Russia House. Barley (Sean Connery), a British publisher, finds himself at the center of international intrigue when Katya (Michelle Pfeiffer), a Russian woman he has never met, sends him a manuscript containing military secrets. Working under British Intelligence with the support of the CIA, Barley travels to Moscow to meet Katya and track down the manuscript’s author, the elusive Dante (Klaus Maria Brandauer).

The Russia House is a spy thriller based on the novel by John le Carre. Set at the end of the Cold War, The Russia House follows an independent-minded book publisher on a dangerous mission to verify a manuscript that could change the face of global politics. The movie deals with the harsh realities of the spy business from an outside perspective. As Barley grows attached to Katya, he faces a choice between his heart and his duty to his country.

The Russia House is a slow, cerebral thriller that is light on action. The bulk of the story is spent recruiting Barley, making contact in Moscow, and gradually reeling in Dante. The drama comes from two sources: Barley’s shifting motives as his mission progresses, and the internal debates between the CIA and British Intelligence about just what to do with the information Dante has given them.

The outcome is a spy movie that looks at the genre from a different angle than most. Many of the familiar elements are present, but the conflict is as much about the personal and political fallout of the situation as the mission itself. The upshot is that the moral side of The Russia House carries more weight than the typical spy flick. The downside is that these weightier elements slow the movie down and keep it from packing too many twists.

Watch The Russia House if you are in the mood for intrigue set against the backdrop of late Cold War politics. The quality of the acting, the tension of the story, and the uncertainty of the situation Barley finds himself in all contribute to a satisfying movie. However, anyone looking for overt action or repeated twists may want to steer clear, as the movie’s deliberate pacing and more focused story can come across as dull.

For another John le Carre adaptation that takes a bleaker look at spycraft, try The Spy Who Came in from the Cold. For a more comedic movie about the publication of a sensitive manuscript, try Hopscotch or Burn After Reading. For a more action-packed Cold War thriller starring Sean Connery, check out The Hunt for Red October.

[6.1 out of 10 on IMDB](https://www.imdb.com/title/tt0100530/). I give it a 6.5 to 7.0 for a thoughtful spy dilemma.

Today’s quick review: Hopscotch. After decades of loyal work for the CIA, Miles Kendig (Walter Matthau) is kicked to the curb by his ungrateful boss Myerson (Ned Beatty). With nothing left to lose, Kendig decides to publish his memoirs and reveal every embarrassing secret and boondoggle the CIA was ever involved in. As Kendig jaunts around the world writing new chapters, Myerson sends Joe Cutter (Sam Waterson), Kendig’s successor, to catch him.

Hopscotch is a spy comedy about a veterna CIA spy spilling the beans about his former employers. Kendig uses his superior spycraft and a network of contacts, including his old friend Isobel (Glenda Jackson), to run circles around the men sent to catch him. Hopscotch gets most of its appeal from Kendig’s folksy mannerisms and the pranks he plays on Myerson and the others. Solid acting and a charming premise make the movie an enjoyable watch.

Still, Hopscotch has very little of the flashiness associated with the spy genre. Apart from one or two close calls between Kendig and his pursuers, there is little action to speak of. The movie also never makes a point of what secrets Kendig is leaking, only that they are embarrassing to Myerson. As a result, Hopscotch may come across as dry or aimless compared to other movies in the genre.

Hopscotch is a fun pick for viewers who enjoy classic comedies and are willing to let the movie unfold at its own pace. Between Matthau’s performance and the tricks Kendig uses to stay ahead, the movie manages to entertain from start to finish. However, not everyone will enjoy what Hopscotch has to offer, and anyone looking for overt comedy or a high-stakes plot may want to steer clear.

For a slightly darker comedy about a spy publishing his memoirs, check out Burn After Reading. For a more ridiculous spy comedy, check out Get Smart. For a more serious spy thriller about the publication of a book containing state secrets, try The Russia House. For Cold War-era spycraft with a more serious tone, try The Ipcress File or Funeral in Berlin.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0080889/). I give it a 7.0 for low-key humor and a pleasant story.