A police officer uncovers the real identity of his house-guest, an I.R.A. terrorist in hiding.A police officer uncovers the real identity of his house-guest, an I.R.A. terrorist in hiding.A police officer uncovers the real identity of his house-guest, an I.R.A. terrorist in hiding.
- Awards
- 1 nomination
Rubén Blades
- Edwin Diaz
- (as Ruben Blades)
Ashley Acarino
- Morgan O'Meara
- (as Ashley Carin)
Storyline
Did you know
- TriviaBrad Pitt wanted to leave the production, but was threatened by a lawsuit. In the February 2, 1997, issue of Newsweek, Pitt called the film a "disaster", and said that "it was the most irresponsible bit of filmmaking - if you can even call it that - that I've ever seen. I couldn't believe it". Rumors of fighting on the set (especially over which star would be the focus of the film) plagued the production. The original script was discarded and there were at least seven subsequent rewrites. Pitt said the final version was "a mess". "The script that I had loved was gone," he said. "I guess people just had different visions and you can't argue with that. But then I wanted out and the studio head said, 'All right, we'll let you out, but it'll be $63 million for starters." (Harrison Ford later noted that Pitt "forgot for a moment that he was talking to someone whose job it was to write this s*** down".)
- GoofsTom pursues Frankie up the indoor stairs and then outside across the roof and down the sixteen foot wall, where Frankie escapes past a building. Given that there was no ladder and nothing on which to climb, how did Tom get up the 16-foot wall to get back inside?
- ConnectionsFeatured in Siskel & Ebert: Liar Liar/The Graduate/Selena/Crash/Kolya (1997)
Featured review
I say this making no pretense at completely understanding the Irish conflict myself (you'd have to ask someone with experience of Belfast for a more authentic take on the situation), but the irresponsible way the troubles were used here as a backdrop to what is supposed entertainment staggers me. It isn't as if it needed this detail; the terrorist could have been from any unspecified organisation. In the incompetent handling of sensitive issues that the makers really have no idea of, the production team involved in this really have let themselves down. Brad Pitt realised this too late and henceforth disowned the film, a fact which made me admire and respect him even more.
For this I wanted to hate the film, and yet found myself unable to. Beneath the misbegotten attempts at 'political comment', there is a decent little thriller struggling to get out. Pitt is great as the terrorist (dodgy accent aside) and Ford is as reliable as ever in the role of the honest cop. Director Pakula keeps the story moving at all times and stages the action well. Despite all these pluses, I constantly felt uncomfortable at the ways in which the script tried to manipulate my sympathies. While it's not quite enough to make me downgrade the film on an enjoyment level, it loses big points from an ethical perspective. Shame on you Tinseltown.
For this I wanted to hate the film, and yet found myself unable to. Beneath the misbegotten attempts at 'political comment', there is a decent little thriller struggling to get out. Pitt is great as the terrorist (dodgy accent aside) and Ford is as reliable as ever in the role of the honest cop. Director Pakula keeps the story moving at all times and stages the action well. Despite all these pluses, I constantly felt uncomfortable at the ways in which the script tried to manipulate my sympathies. While it's not quite enough to make me downgrade the film on an enjoyment level, it loses big points from an ethical perspective. Shame on you Tinseltown.
- Howlin Wolf
- May 13, 2001
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Details
Box office
- Budget
- $90,000,000 (estimated)
- Gross US & Canada
- $42,868,348
- Opening weekend US & Canada
- $14,274,503
- Mar 30, 1997
- Gross worldwide
- $140,807,547
- Runtime1 hour 51 minutes
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
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