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The one ticket about Spike Lee films is that you’re never determined what you’re going to rep. I’m not really a fan, I gather that his films are too convoluted with extraneous detail and somewhat over produced. Inside Man retains all the elements of a solid bank robbery/caper film, whilst also giving us Spike Lee’s trademark of gritty, street-wise irreverence.
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The predicament with Inside Man is that it’s impossibly fabulous with a location that strains the realms of credibility; combine this with it’s over-long running time and you have a film that features some gargantuan performances by it’s cast - Denzel Washington, Clive Owen, Christopher Plummer and Jodie Foster - but ultimately sags a bit in the middle and ends up becoming rather ponderous.
Lee manages to pull off a handful of effective scenes, but he doesn’t have the flair to bring the whole movie off with sincere conviction. An enigmatic master criminal (Owen) - who spends most of the movie wearing a screen - plans and executes a “genius thought” in which he and several masked companions win over a Lower Manhattan bank and brutally buy several dozen of its customers as hostages.
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The NYPD negotiator given the task of dealing with these crooks is an affable junior detective, Detective Keith Frazier (Washington) - under a cloud of suspicion from a previous case - he soon surmises that the perpetrators don’t actually want the bank’s money. Enter smarmy and dazzling Current York political insider Madeline White (Foster) who knows everybody and even has the ear of the Mayor.
Madeline is hired by the chairman of the bank’s board of directors (Plummer) to oversee the crisis and produce clear that sure secrets he has in his safe-deposit box cease secret. The bulk of the film involves the standoff between the bank robbers and the NYPD as they try frantically to ensure that the hostages remain proper.
Of course we know the hostages survive because Lee inserts interview footage of them after the heist is over, this plot, however, tips off the outcome, dissipates suspense and snappy becomes dull. This is honest one of the many techniques Lee uses to clutter the movie’s structure and prevent the residence from unfolding as posthaste as it should.
Obviously, everyone has something to mask, particularly the bank president, but when his past is revealed, it finally appears with a bit of a thud, with the movie going through to distinguished peril to reach at very microscopic. In all fairness, Inside Man has some piquant things to say about accelerate, money, power and the ethics of urban living, particularly in Modern York and the performances are wonderfully cynical and gritty.
Washington is sexy and strong, Foster is skillfully odious as the frosty, sophisticated and amoral Madeline who cares for nothing but chasing gigantic bucks, Owen is morbidly compelling as the distinct heavy and Plummer is letter-perfect as the guilt-ridden bank honcho.
Lee, however, honest doesn’t seem able to bring all the disparate elements of a heist film into a convincing and gratifying whole and in the end; the movie is vaguely unsatisfying and impossibly far-fetched. Mike Leonard August 06.
Everything about INSIDE MAN makes the viewer want to esteem this film: Spike Lee as director, a radiant cast, a wonderful musical find that sounds a bit like Bollywood music, a theme that invites social comment.
For this viewer the terrific ingredients do not add up to a modern suspense thriller of a film. The myth is a variation of hundreds of other films (writer Russell Gewirtz somehow got away with impartial an outline of a script of holes) and the technique of telling the tale - interspersing post incident interviews with the people enthusiastic in the caper - makes it thud along.
Denzel Washington is his usual elegant acting self, playing a cop with his have demons. Chiwetel Ejiofor is solid as his partner. Clive Owen spends the better fragment of the film late a hide but continues his reputation for unruffled and worthy characterizations as the bank robber. Christopher Plummer is convincing as the wait on president with secrets to mask, which Jodie Foster as a middle-woman manages to manipulate. Willem Defoe is aesthetic as the cop in charge. They all gain well in roles they could do in their sleep.
Clocking in at over two hours the film seems to scamper over some inconsequential details in an attempt to shroud the holes in the script. Spike Lee makes it work because of his style. But in the demolish the legend isn’t intriguing enough to maintain our attention (’been there, done that’) and this viewer, for one, fell asleep during portions when the film slowed for unknown reasons. Admire the director and the actors, pass on the film. Grady Harp, August 06
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