Before you judge this picture too harshly--dim sham and damn shame that it is--let me tell you something: it was a real knockout back when I married it. But as the blush faded from the rose of the post-war consensus, it lost its figure. Kind of like America--which we love, but struggle to recognize behind the layers of dumb shit caked onto it by time, change, unions, plastic surgeons, and so on. This is why we shoot.
This is a satire done right, as if it was ripped from Don DeLillo's acidic page. The tone throughout is outstanding, and so is the editing. This is Schumacher's best film and one of Douglas' top performances.
Michael Douglas's performance makes the film worthwhile, very forced moments but we drive on roads where the improbable and reality intersect. Photography Andrzej Bartkowiak is another feature of this film stands out and keep alguas sequences as witnesses of madness.
Micheal Douglas's performance is gold... actually a lot of the movie is gold. It's a bit dated from it's storytelling stay point (a cop about to retire who has to do do one more job but ends up back at his job, come on now!) But besides that, the chaos, social commentary, anxiety is dead on.
It definitely has mostly incredible stuff in it and Michael Douglas's performance is ingenious but I really wish there were less scenes with Duvall's character, to me his story was necessary but often became repetitive with too much time focused on it. Other than that, I really enjoyed this film!
This film had a lot of potential but it lost its nerve and didn't take it far enough. Let Foster lose ALL his social inhibitions and really explode the seething tensions that feed his rage -- I would have applauded that kind of artistic courage, but could feel Schumacher reeling it back in halfway through for fear of upsetting audiences.