15 Minuten Ruhm

(59%) A real piece of all over the place Hollywood that shuffles itself around like a deck of cards every other scene. The main focus is not on DeNiro, or even Edward Burns, but on two eastern European maniacs who feature heavily throughout. What makes this so uneven is the tone. It starts as a crime thriller, then there's some breaking news exploitation satire with Kelsey Grammar, then DeNiro comes in turning it more into a cop action movie, then there's a series of quite sweet romantic scenes that come in between footage of the two bad guys filming themselves murdering someone making everything feel more than a little slapdash. Yet it sort of works mainly because everything happens so fast, and there's so much of it to get through. The fact that the cast is more than capable doesn't hurt much either, and it is quite well made too so you just sort of except the flaws as they arrive. It's just action cop movie thrillers, romance, a playful sense of humour, and snuff movies all mixed together doesn't create a great recipe for success.

FIFTEEN MINUTES / (2001) ***1/2 (out of four)

By Blake French:

"Fifteen Minutes" is a powerful, thought-provoking, and unexpected thriller about real life. It is a thematic movie that makes a strong, supported, and convincing stand on many current controversial issues, targeting and exposing the many weaknesses and absurdities of the American legal systems. The film also incorporates prospects dealing with greed, power, popularity, the public eye, influences of media, the power of television, and the desire of immigrants to achieve fame in America. This is not your typical Hollywood action flick; it is occupied with twists and unconventional surprises in which many producers would stay far away. "Fifteen Minutes" is a movie with guts and impact, and for the first time in a long time, the theater audience where I screened the film gave it a recognizable applause as the closing credits appeared.

"Fifteen Minutes" is complete with big Hollywood names, like Robert De Niro, Edward Burns, Kelsey Grammer, and even includes cameos from several distinguishable actors: Charlize Theron has a neat little appearance as a recruiter for hookers, and David Alan Grier shows up as a pedestrian causing trouble in New York City. But the movie actually centers on two Eastern European immigrants named Emil Slovak (Karel Roden), and Oleg Razgul (Oleg Taktarov). They have come to the United States looking for a man who owes them a large sum of money, but eventually discover opportunities for fame. They kill their debtors and capture the murders on a stolen home video camera. There is, of course, an illegal immigrant who witnessed the crime, Daphne (Vera Farmiga), who is now wary and on the run.

Enter homicide detective Eddie Flemming (De Niro), a local celebrity, and arson investigator Jordy Warsaw (Burns), who could not care less about the media. They form a team to undercover what appears to be a fatal fire accident, but soon discover the scene was the location of a brutal murder. Enter a subplot where a veteran detective informs a novice of the same sort new ways to explore his profession. The story then takes an unexpected turn of events where the criminal's intentions explode into sadistic atrocity: Oleg and Emil plan to sell the video of their murders to a TV network anchor (Kelsey Grammer) for a million dollars. They intend to beat the charges with an insanity plea, also stating that they were abused as children. Why would the two immigrants want to do such a thing? To achieve fame-even if it is of a notorious nature.

We wait patiently for the story to take off with the setup, but it stays with two separate narratives for quite sometime. When the narratives do cross its obvious this is not your typical, run-of-the-mill action picture, but an insightful picture that says something about, among many other concepts, the power and influence of the media. The madman fascinated with video taping is "yesterday's news" already seen in 1999's "American Beauty." It does not have the same impact in this film, however, mostly because here it is more of a sadistic obsession never truly understood, rather than the passion and exploration in the multiple Academy Award winner. It is fun watching the incidences photographed with the home video camera; there are some cool special effects that add a nice touch to the scenes.

Robert De Niro gives another suave hotshot performance; it is coming to the point where his talent is more effective in shtick comedies like "Analyzed This." Regardless, the veteran actor grabs us by the collar and yanks with no regrets and a thought-provoking, determined attitude. The screenplay provides his character with an effective soft side through a romance with his girlfriend. Edward Burns ("Saving Private Ryan") is never really bad in a movie, but his personality feels too resigned and modest to be in these violent dramas. He has a few understood moments, and often his performance fits his character accordingly, but a braver, more aggressive actor may have fit the part better.

Surprisingly, the best performances in "Fifteen Minutes" come from the villains, Oleg Taktarov and Karel Roden. Both are very clever in their roles, which are also exceedingly well written: when the two encounter a visit with a local prostitute, the scene does not result in mechanical sex, but in violent misunderstanding that furthers the complications of the plot. Both actors are convincing and unpredictable. Many early critics have complained about the film's implausibility, but Taktarov and Roden portray their characters with such mean-spirited brutality and complex emotions, I believed every step they took.

John Herzfeld is the film's director. His last project, "2 Days in the Valley," was quite a bit different from "Fifteen Minutes." There are certain aspects of his filmmaking style that carry over, but for the most part this film stands on its own from his previous achievements. Herzfeld constructs "Fifteen Minutes" with complexity and thought. It is a brave, courageous movie, deserving of controversy but will likely pass as a theme-orientated action picture. I think most audiences will appreciate the production for what it is and how it informs us on such distressing issues. When we walk out of the theater, we get a sense that we trust in our government's legal system even less than we did before watching the movie.

This a rough, edgy film but the interesting characters make it entertaining for the full two hours. For some reason, I don't believe this film got a lot of publicity.

Karol Roder doesn't get any billing but he's as much a star in this movie as big-names Robert Redford and Edward Burns. Another actor who also has a key role, Oleg Taktarov, has no billing! Wow, they really hosed the Eastern European actors in here.

The film is partially another indictment against the tabloid press. Playing the villain in that regard is good 'ole "Frasier" from TV: Kelsey Grammar. He plays a foul-mouthed tabloid television sleazoid "Robert Hawkins.

Sometimes this got a bit too edgy for me, nor did I appreciate Burns' verbal blasphemy, but I also enjoyed some of the black humor in here. Overall, it's not a film that, frankly, was that memorable yet I would watch it again.

There was just about 1/8 of this movie that I took it seriously. I was cringing and feeling sick at the bloody slaughter of people throughout the film. I was embarrassed for the screenwriters when I couldn't tell if the movie wanted to be an action thriller or a dark satire (and the result was a foolish parody). There was frustration with the wasting of the talents of Charlize Theron and Melina Kanakaredes.

15 Minutes is such a dispiriting mess of a something-or-another. There are so many good things that get lost or wasted or used incorrectly. Only three things about this movie are done well. Whenever Karel Roden, the lead killer is smoking a cigarette, you swear there's a hallucinogenic drug in the tobacco--he just looks crazier with every drag. In between all the stupid twists and turns, there are a few that just leave you gasping with surprise and shock. Finally, the scene with Edward Burns and Vera Farmiga trapped in the apartment with fire advancing on them and the bad guys watching from across the street was one of the more suspenseful, yet not ludicrous set pieces I've recently seen in a movie.

Unfortunately, a smidgen of good here and there does not fill 121 minutes. When the parody is played out and the roar of ritualistic gunfire has dissipated, your left with nothing much more than a remake of David Bowie's "Fame" blaring in your ears.

Not a good note to leave on.

Now, firstly, I found the movie to be a pretty tense and rough one. The idead behind the film showed itself thoroughly in the secomd half and it was less subtle and more definitive then it should be, but i still think its good to have such ideas in a Hollywood movie. Second thing, the camerawork of this movie is awesome, finaly moviemakers are regressing from the typical steadicam widescreen bombastic camera shots and arre returning to the "amateurish" and personal level of camerawork. But the thing that I REALLY want to state here is this : you guys are crazy arent you ?!?! Ive read some of the comments and all Ive seen is how Robert DeNiro and Edward Burns were the stars of the movie...I even read that the movie lost appeal once DeNiro´s character was out of the way...NOW what a bulls***...yes DeNiro made his high standart performance no doubt, Burns was also FINEEE...BUT how can you not notice that the two psychopats were the showstealers here...I dont know Oleg Taktarov as an actor but he gave soul in his performace..and Karel Roden (yeah..I know im from Czech republic myself, but Im being realistic), hes one heluva actor and it SHOWS here...his character is not only a violent psychopat, he looks at the american society through the tv screen and what he sees makes him try his luck....a smart villian indeed....