Ray works for MI6, Claire for the CIA. She burns him in Dubai. Jump ahead five years: he sees her in Grand Central and confronts her. Both now work in industrial security for corporate giants whose CEOs hate each other. Flashbacks fill us in: is it coincidence that he sees her in Grand Central? In about a week, one of the firms is going to announce a revolutionary product. Under the guise of helping that corporation’s rival, can Ray and Claire work their own theft and find an independent buyer? To work together, using the corporate rivalry to their advantage, they would have to trust one another – difficult, if not impossible. Or, is one playing the other? —IMDb
Anthony Joseph “Tony” Gilroy (born September 11, 1956) is an American screenwriter and filmmaker. He wrote the screenplays for the Bourne series starring Matt Damon, among other successful films. He has been nominated for Academy Awards for his direction and script for Michael Clayton, starring George Clooney. Gilroy recently wrote and directed Duplicity, starring Julia Roberts and Clive Owen.
Gilroy was born in Manhattan, New York, the son of Ruth Dorothy (née Gaydos), a sculptor and writer, and Frank D. Gilroy, a playwright. He is the brother of screenwriter Dan Gilroy and editor John Gilroy. He lives in Manhattan with his family.
Writing career
Gilroy has written many scripts for film, starting with the script for The Cutting Edge in 1992. This was followed by Dolores Claiborne in 1995 and The Devil’s Advocate in 1997. He also wrote the script for Armageddon, the highest-grossing film of 1998. Gilroy’s next script was Proof of Life in 2000. In 2002, 2003 and… read more
The maker of "Michael Clayton" does his vision of a Hepburn-Tracy and it was surprisingly enjoyable. Rome! London! Bahamas! Cleveland! And I guess I secretly wanted to see Julia Roberts and Clive Owen bicker-bantering again, open it up a bit from their time in "Closer". Besides, I now again feel compelled to screen a Paul Giamatti retrospective marathon, something I'd planned to do for some time...
Stilizzato, ma dopo una mezz'oretta capisci che le complicazioni del meccanismo sono artificiose e che il piacere che puoi trarre dal racconto non valgono il tempo e l'attenzione che il film pretende