Here’s a challenge: watch the timer on the front of your DVD player, and jot down the exact point at which you stop caring about whether Harrison Ford will ever find a way to foil the plot of the wily bank robbers who kidnap his family and force him to compromise his employer’s computer security system. For me, this moment came when Ford kills one of the evil sidekicks; somehow the death transformed the show from a vaguely interesting battle of wits into the parade of violence it would ultimately turn out to be. This would make an interesting double feature with Spike Lee’s Inside Man, as the contrast between the two demonstrates the difference between plots that flow and plots that merely move from one peril to the next. See if desperate
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