In einem verzweifelten Versuch, seine Unschuld zu beweisen, nimmt ein geschickter, der Korruption und Mord beschuldigter Polizeiunterhändler Geiseln in einem Regierungsbüro, um die Zeit zu g... Alles lesenIn einem verzweifelten Versuch, seine Unschuld zu beweisen, nimmt ein geschickter, der Korruption und Mord beschuldigter Polizeiunterhändler Geiseln in einem Regierungsbüro, um die Zeit zu gewinnen, die er braucht, um die Wahrheit zu finden.In einem verzweifelten Versuch, seine Unschuld zu beweisen, nimmt ein geschickter, der Korruption und Mord beschuldigter Polizeiunterhändler Geiseln in einem Regierungsbüro, um die Zeit zu gewinnen, die er braucht, um die Wahrheit zu finden.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 2 Gewinne & 6 Nominierungen insgesamt
- Maggie
- (as Siobhan Fallon)
- Allen
- (as Leonard Thomas)
Empfohlene Bewertungen
I don't think I expected much more than a standard contemporary police corruption thriller, and this was better than I expected both in the story line (which has a couple great twists) and the acting and pacing (thanks to both Kevin Spacey and Samuel L. Jackson). It's not quite as intense or fresh feeling as "Serpico," one of the defining movies of this type, and it's longer than it needs to be (especially at the beginning), but it's as steady and convincing as most movies of this type.
Now it's worth saying that movies of this type (and let's be broad and include "Die Hard" and "Bad Lieutenant" in the mix) always stretch the limits of credibility, and if you don't like that, don't watch it. I mean, even the bad cops are kind of super cops, swirling in from helicopters and crashing through windows with their guns on fire. And Jackson, playing the embattled innocent accused, is more adept than even Bruce Willis, though a bit less fun for sure. If this were all the movie, it would be just passable, something on the level of the new "Take Pelham 123." But enter Spacey, and the whole meaning of the title shifts 180 degrees, and the edginess of the dialog ramps up a lot.
A good one.
If this were a perfect world, Jackson would deserve an Oscar nomination for his performance here. There's no way on Earth he'll get it, of course, but he's given the difficult role here of playing a guy who has to convince the guys downstairs that he's a psycho, while convincing the guys he's kidnapped that he's innocent, and he does a flawless job of it. No easy task, especially when you consider the fact that he's got to throw in the occasional gunfight. At least he'll probably win the MTV award :)
What results is a skillfully made film. I enjoyed it. It made sense but kept me guessing, the action was intense but still followed logical patterns, and the ending was not a disappointment. An altogether fun experience.
That's all you'll hear from me. After this main plot line, "The Negotiator" becomes a nerve- racking ride; with thrills all the way through and a very intelligent use of the general elements of the crime thriller. See, that's the thing about crime thrillers: they are always around the same kind of ideas and stories. I recently watched "Edison" and I didn't like the way it handled things; because it wanted to give an explanation to a conspiracy that was confusing and difficult to understand, sadly inside of a good script.
"The Negotiator" suffers from the same thing. However, writers James DeMonaco and Kevin Fox make it up with some beautifully written, gripping dialogue in a fantastic achievement; considering that one of them hadn't done anything before and the other had written "Jack". The screenplay of "The Negotiator" is probably what brings the rest to life.
It isn't the writers' fault but, although the cameras are well placed and F. Gary Gray's direction is accurate, everything feels a little bit like television (like in "SWAT"). I'm not saying this is a bad characteristic, because it doesn't make the film less dynamic and because the film is, as I said, intelligent; but it's ultimately disappointing. The music by Graeme Revell is one of the high points, with chilling strings that accentuate the characters' looks in the moments of tension.
These moments of tension also look like television, but we forgive it because we get some good intense looks. If "The Negotiator" is not good for everything else (which is not entirely true), it is good because of the actors (casting by David Rubin). Samuel L. Jackson is full of perfectly managed rage as Danny Roman, achieving a better performance than the ones he got in other movies where he carried guns, like "The Long Kiss Goodnight", "Rules of Engagement", even "Shaft" and definitely "SWAT".
A lot of the actors in the cast come from television or are now still on television (which may help the feeling I was talking about), like Ron Rifkin, John Spencer, Carlos Gomez, Nestor Serrano, Stephen Lee and Doug Spinuzza. They are all great, and so is the late J.T Walsh in a small role. Besides, Regina Taylor is powerful as Jackson the cold David Morse is astounding playing a kind of villain and showing he's one of the best for playing villains today; even in films like "Dreamer".
Paul Giamatti steals the show as a maniac hostage, which is a nice performance to see Giamatti before becoming the cult performer he is now. He was still good then. Siobhan Fallon is also flawless as a law-abiding secretary. But Jackson is the centre of the movie, alongside the other main character. Chris Sabian appears late in the film, but in the skin of Kevin Spacey he encounters Jackson's craziness and "The Negotiator" elevates itself into a whole different level. Spacey's facial expression and manner of talking and Jackson's unique eyes movement are just little details of their incredible performances and their chemistry.
Wonderful actors pay attention to details in movies. At least just to watch Spacey and Jackson, you can't miss "The Negotiator". It has one of the best acting duos I've seen in a long time.
Wusstest du schon
- WissenswertesThe film was largely based on the events surrounding the St. Louis pension fund scandal of 1988. In the 1988 case, the ex-policeman, Anthony D. Daniele, had just been sentenced to eight years in prison for stealing from the police and fire department pension fund via a kickback scheme that cost the fund $333,000. The scheme involved the paying of artificially high commissions to a brokerage firm and receiving kickbacks. The sentence also required Daniele to pay back $200,000. The attorney with the firm was sentenced to nine years and the other participants, who pleaded out, were sentenced to serve between six months to three years.
Although he was not a negotiator, Daniele, like the Danny Roman character, had been a member of the police hostage-response team. The day after sentencing, he went to the office of the man who exposed him, John Frank, vice president of the city police board, and took him hostage. As with the film, this standoff took place on a high floor of a high-rise office building. The stand-off lasted 15 hours before Daniele gave up.
- PatzerThe sharpshooter puts a laser dot on Roman's head and the officers in the helicopter light Roman up with about eight lasers while he's standing in the window. Police sharpshooters don't use laser sights (i.e. red dot on target). They're good enough to not need them and don't want to tip off the suspect that he's in their sights. Any cops who do have laser sights (which is unlikely, but conceivable) don't put them on the target and keep them there. The sights are for rapidly getting the gun on target - not replacing proper sight picture.
- Zitate
Lieutenant Danny Roman: When your friends betray you, sometimes the only people you can trust are strangers.
- Alternative VersionenIn the Blu-ray, the 75th anniversary variant of the Warner Bros. Pictures logo is plastered at the beginning with the silent version of the 2003 variant. However, closing 1992 variant is retained at the end of the film.
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Details
- Erscheinungsdatum
- Herkunftsländer
- Offizieller Standort
- Sprache
- Auch bekannt als
- El mediador
- Drehorte
- Produktionsfirmen
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Box Office
- Budget
- 50.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 44.547.681 $
- Eröffnungswochenende in den USA und in Kanada
- 10.218.831 $
- 2. Aug. 1998
- Weltweiter Bruttoertrag
- 44.547.681 $
- Laufzeit
- 2 Std. 20 Min.(140 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.39 : 1