Despite Harrison Ford receiving his single Oscar nod for this film, I see "Witness" as more of a showcase for director Peter Weir's lyrical style: this is a film composed out of arresting images and music. As a fan of filmmaker M. Night Shyamalan, it's not difficult to trace the DNA for nearly every one of his features here, from the adult/child dynamic in "The 6th Sense" to the sequestered beauty of "The Village."
Began an ambitious period in Harrison Ford's career that was all too brief. After this, we got amazing performances in The Mosquito Coast, Frantic, and Regarding Henry. I love the moment where the two romantic leads exchange this heavy look, and we know that they both realize that things must come to an end. The only thing I dislike about this film is the synth score. I wish Ford and Weir would reunite again.
About as powerful and human as any drama can be. Witness blends the genres of drama and thriller magnificently and it's certainly one of the best written films I've seen in a long, long time. Themes and settings are constantly changing and it's all the better for it. Harrison Ford is incredible and just like any other Peter Weir movie; it looks beautiful.
An enjoyable film by most regards but at worst it's a bit too sentimental, otherwise an interesting twist on the traditional crime thriller and what gets more manlier than Harrison Ford as a woodworker, throw in a guest appearance of Viggo Mortison to top it all off. Fluff, but enjoyable.
It was a strange rediscover. I haven't seen it for a while, more than 10 years. This movie has some really powerful moment like the love meeting between Mc Gillis and Ford or the building of the barn. But the most incredible is the score by Maurice Jarre. A synthetic classical symphony. Watch it again and listen at carefully.
This is a film they teach in film school because of the text book structure and reliance upon the heroes journey, sort of like Fisher King with Robbin Williams, though the latter is a superior film for different reasons. Ford is stiff here, much like most of his career, and Glover is sketchy as a bad guy. Haas has never fully found himself since, and while the film is enjoyable it isn't necessarily great.