Robert dean is a mild-mannered lawyer who works in Washington D.C. He is on the trail of a kingpin named Pintero. Meanwhile, a politician named Thomas Reynolds is negotiating with Congressman Phillip Hammersley about a new surveillance system with satellites. But, Hammersley declines, that is when Reynolds had Hammersley killed, but this murder was caught on tape, and this person was being chased by Reynolds’ team of NSA agents, the guy must ditch the tape, so he plants it on Dean (unbeknownst to Dean). Then, the NSA decides to get into Dean’s life. That is when Dean’s life began to fall apart all around him, with his wife and job both gone. Dean wants to find out what is going on. Then, he meets a man named “Brill” who tells him that Dean has something that the government wants. That is when Dean and Brill formulate a plan to get Dean’s life back and turn the Tables on Reynolds.
Tony Scott was a British-born film director and producer. He was the youngest of three brothers, one of whom is fellow film director Ridley Scott. He was born in North Shields, Northumberland, England to parents Jean and Colonel Francis Percy Scott. As a result of his father’s career in the British military, his family moved around a lot. Their mother loved the going to the movies and instilled a love of cinema in her children.
While still a teenager, producer and director Tony Scott made his first foray into film with an appearance in his big brother Ridley Scott’s first short film, Boy and Bicycle. He later attended London’s Royal College of Art, as did his brother, and proceeded to get his feet wet behind the camera, at first by directing TV commercials for his brother’s production company Ridley Scott Associates. He became a leader in the British commercial industry, directing countless ads and building up an impressive resumé over the years. By the early ‘80s, Tony Scott… read more
After Scott’s Man on Fire phase, one can see this foreshadows his coming period. While a tempered sign of things to come over a full example of his looming kinesthetics, it’s a seamless contemporary transplant - artistically, culturally - of his aesthetic between the video '90s and digital 2000s, while tense yet as a digestible look at surveillance ethics - outside its cartoony, diabolical depiction of the NSA as Big Brother’s proxy (recent hindsight of the PATRIOT Act aside). Clever cross-reference to The Conversation in Hackman resurrected.
One of Tony Scott's last films before he dove headfirst into his more experimental phase with "Man on Fire" and the like. This is a serviceable 'wrong man' thriller with a bombastic score and some impressive photography, including daring helicopter shots and a lot of handheld camera work during chase scenes. Will Smith delivers a charismatic performance but is overshadowed by Gene Hackman during the second half of the film, and the truth is that 132 minutes is just too long for a standard pot-boiler such as this.
Did anyone else notice that John Voight's character is born of September 11th (or as the FBI agent says, 9/11/40)... Considering the subject I found this to be one hell of a perfect "coincidence"
One “movement” in our exquisite corpse-style critical project on Tony Scott. Each movement features ten critics and ten scene analyses.
Movement 2B in a critical exquisite corpse project analyzing films by Tony Scott. This entry focuses on Enemy of the State (1998).
Movement 9B in a critical exquisite corpse project analyzing films by Tony Scott. This entry focuses on Enemy of the State (1998).
An exquisite corpse-style critical project on the films of Tony Scott featuring twenty critics and twenty scene analyses.
One “movement” in our exquisite corpse-style critical project on Tony Scott. Each movement features ten critics and ten scene analyses.
Movement 6A in a critical exquisite corpse project analyzing films by Tony Scott. This entry focuses on Enemy of the State (1998).
On the late great.