Um einen terroristischen Anschlag zu vereiteln, unterzieht sich ein FBI-Agent einer Gesichtstransplantation und nimmt die Identität und das physische Erscheinungsbild eines Terroristen an, a... Alles lesenUm einen terroristischen Anschlag zu vereiteln, unterzieht sich ein FBI-Agent einer Gesichtstransplantation und nimmt die Identität und das physische Erscheinungsbild eines Terroristen an, aber der Plan wird von schlecht zu schlechter, wenn derselbe Terrorist den FBI-Agenten dars... Alles lesenUm einen terroristischen Anschlag zu vereiteln, unterzieht sich ein FBI-Agent einer Gesichtstransplantation und nimmt die Identität und das physische Erscheinungsbild eines Terroristen an, aber der Plan wird von schlecht zu schlechter, wenn derselbe Terrorist den FBI-Agenten darstellt.
- Für 1 Oscar nominiert
- 11 Gewinne & 23 Nominierungen insgesamt
- Buzz
- (as Jamie Denton)
Empfohlene Bewertungen
This film has some of the cagiest Nic Cage moments ever. And I love crazy Cage.
Aspect ratio: 2.39:1 (Panavision)
Sound formats: Dolby Digital / DTS
This magnificent thriller represents director John Woo's triumphant return to the kind of hyperkinetic, emotionally charged film-making which made him such a hot property in the first place. Following the artistic bankruptcy of his first two Hollywood projects, this one is a marriage of high-octane movie-making and mind-twisting narrative complexities. It's also one of the few American action movies which manages to strike a balance between crowd-pleasing set-pieces and domestic interludes, and renders them equally important. John Travolta and Nicolas Cage are perfectly matched as hero/villain (and vice versa!), whilst heavyweight theatre actress Joan Allen provides the narrative with much of its dramatic backbone in the role of Travolta's wife (the scene in which she is first confronted with her husband in Cage's body is almost identical to a similar scene in Terence Fisher's FRANKENSTEIN MUST BE DESTROYED [1969]).
Technically, the film is a blast, and Woo stages the action highlights with a visual grace and dexterity that is often breathtaking to behold. The climactic speedboat battle is probably the finest set-piece of Woo's career to date, and the script is overflowing with visual and thematic ironies that underscore the action highlights. In fact, the production has arguably more dramatic resonance than any other Hollywood blockbuster of the 1990s, but the dictates of American commercialism mean that Woo is only able to skate over the emotional surface of his characters and their moral dilemmas. The two main protagonists are much too cold and heartless to fully engage the audience's sympathies, and there's nothing here that matches the scorching human drama of, say, BULLET IN THE HEAD (1990). But for all that, FACE/OFF dares to go deeper than your average Hollywood action picture. It's clever, witty and thrilling, and it manages to accomplish the difficult task of feeding the brain whilst entertaining the eye.
Nicolas Cage and John Travolta are phenomenal in their dual roles each. The rest of the cast isn't very deep and is more filler than anything else. The editing job feels underdone, particularly when the action sequences get to the "overcooked" staged. Still, how many speedboat chases or airplane crashes are you going to see in a slow-motion?
Overall, a summer action movie that delivers in acting, directing, and most other departments. 4 out of 5 stars.
Nicolas Cage on the Roles That Changed His Life
Nicolas Cage on the Roles That Changed His Life
Wusstest du schon
- WissenswertesNicolas Cage and John Travolta spent two weeks together before filming to learn how to play each other. They decided on specific gestures and vocal cadences for each character that could be mimicked.
- PatzerDuring the hangar shootout one of Archer's federal agents is killed with a shotgun blast (we get a good look at his face), yet a few moments later you notice the same agent is standing, alive and well.
- Zitate
Castor Troy: [to agent Winters as she poses as a flight attendant] Y'know, I could eat a peach for hours.
- Alternative VersionenIn the Domestic release, the Paramount opening logo is played, and at the end of the film, The still closing version of the Paramount logo is shown; while on the International prints, the Buena Vista International logo is played for 20 seconds before the company credits is shown.
- SoundtracksThe Hallelujah Chorus - Since By Man Came Death
From oratorio "Messiah"
By George Frideric Handel (as Georg Friedrich Händel)
Performed by Boston Baroque Orchestra & Chorus
Conducted by Martin Pearlman (uncredited)
Courtesy of Telarc International Corporation
Top-Auswahl
Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprachen
- Auch bekannt als
- Contra/Cara
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 80.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 112.276.146 $
- Eröffnungswochenende in den USA und in Kanada
- 23.387.530 $
- 29. Juni 1997
- Weltweiter Bruttoertrag
- 245.676.146 $
- Laufzeit
- 2 Std. 18 Min.(138 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.39 : 1