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IMDbPro

No hay salida

Título original: No Way Out
  • 1987
  • 13
  • 1h 54min
PUNTUACIÓN EN IMDb
7,1/10
52 mil
TU PUNTUACIÓN
POPULARIDAD
1355
111
Kevin Costner, Gene Hackman, and Sean Young in No hay salida (1987)
Ver Official Trailer
Reproducir trailer1:27
1 vídeo
99+ imágenes
Erotic ThrillerPolitical ThrillerSpySteamy RomanceActionCrimeDramaMysteryRomanceThriller

Tom Farrell tiene que reportarse al secretario de defensa, David Brice, en el Pentágono. Pero, su aventura con Susan, la amante de Brice, lo convierte en sospechoso.Tom Farrell tiene que reportarse al secretario de defensa, David Brice, en el Pentágono. Pero, su aventura con Susan, la amante de Brice, lo convierte en sospechoso.Tom Farrell tiene que reportarse al secretario de defensa, David Brice, en el Pentágono. Pero, su aventura con Susan, la amante de Brice, lo convierte en sospechoso.

  • Dirección
    • Roger Donaldson
  • Guión
    • Kenneth Fearing
    • Robert Garland
  • Reparto principal
    • Kevin Costner
    • Gene Hackman
    • Sean Young
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    7,1/10
    52 mil
    TU PUNTUACIÓN
    POPULARIDAD
    1355
    111
    • Dirección
      • Roger Donaldson
    • Guión
      • Kenneth Fearing
      • Robert Garland
    • Reparto principal
      • Kevin Costner
      • Gene Hackman
      • Sean Young
    • 165Reseñas de usuarios
    • 63Reseñas de críticos
    • 77Metapuntuación
  • Ver la información de la producción en IMDbPro
    • Premios
      • 2 nominaciones en total

    Vídeos1

    Official Trailer
    Trailer 1:27
    Official Trailer

    Imágenes208

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    Reparto principal65

    Editar
    Kevin Costner
    Kevin Costner
    • Tom Farrell
    Gene Hackman
    Gene Hackman
    • David Brice
    Sean Young
    Sean Young
    • Susan Atwell
    Will Patton
    Will Patton
    • Scott Pritchard
    Howard Duff
    Howard Duff
    • Senator Duvall
    George Dzundza
    George Dzundza
    • Sam Hesselman
    Jason Bernard
    Jason Bernard
    • Major Donovan
    Iman
    Iman
    • Nina Beka
    Fred Thompson
    Fred Thompson
    • Marshall
    • (as Fred Dalton Thompson)
    Leon Russom
    Leon Russom
    • Kevin O'Brien
    Dennis Burkley
    Dennis Burkley
    • Mate
    Marshall Bell
    Marshall Bell
    • Contra #1
    Chris D.
    • Contra #2
    Michael Shillo
    • Schiller
    Nicholas Worth
    Nicholas Worth
    • Cup Breaker
    Leo Geter
    Leo Geter
    • Ensign Fox
    Matthew Barry
    Matthew Barry
    • Bellboy
    John D'Aquino
    John D'Aquino
    • Lt. John Chadway
    • (as John DiAquino)
    • Dirección
      • Roger Donaldson
    • Guión
      • Kenneth Fearing
      • Robert Garland
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios165

    7,152.2K
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    Reseñas destacadas

    rmax304823

    Fast, suspenseful thriller

    Okay. The plot has more holes than the brain of a cow suffering from bovine spongiform disorder. So what? The whole movie is fast, palatable, and most important of all, not entirely insulting to the viewer. The story has already been described so I won't go into it except to say that it's an improvement over its source, "The Big Clock," and probably the novel that work was based on. It doesn't depend on special effects. There is only one car chase, ending in a foot race, and it's mercifully brief and doesn't end in an exploding fireball. In fact nothing ends in an exploding fireball. Tears of gratitude brim from my eyes, just being able to write that sentence.

    There's a completely unnecessary plot twist at the very end that leaves final developments ambiguously open. But, that aside, and given a bit of effort at the suspension of disbelief, events hang together logically and build on one another. And we follow them tensely as one improbability leads to another. The movie has images that impress themselves on the viewer's perception, willy nilly, whole scenes and little bits of business.

    We have, first of all, Kevin Costner as a naval officer all of us can identify with -- he's smart, heroic, handsome, virile, important, and looks very spiffy in his immaculate white uniform and shoes as he skips or runs full tilt through the sterile corridors of the Pentagon, pursued by devils or by two brainless thugs in dark suits, one of whom sprints in a more than usually awkward manner, his arms flapping gracelessly at his sides. Costner's acting. It's okay. He still sounds and looks like an innocent all-American surfer but he can't help that. Now and then he actually successfully projects the feelings and thoughts of his character. (I couldn't figure out what the gold badge on his uniform was; it looks like neither a submariner's dolphins nor an aviator's wings.) Sean Young -- wow! Has any body, I mean anybody ever been more classically assembled? Her face is full of good bone structure. It has no quirkiness. She's beautiful in the way a painting of a woman would be beautiful if you took a portrait artist, sat him down, and asked him to dream up a pretty woman and get it down on canvas. Her face is an operational definition of "conventional beauty." And it doesn't stop with her face. She exudes a kind of sensuality that seems unaware of its own appeal, only aware of its own needs. She's foxy in the most negligent kind of way, the kind of woman who might not draw the curtains at night -- not because she enjoys showing off but because she just doesn't care. She may not lay waste the countryside as an actress, but doesn't need to. And what she says is believable enough.

    Gene Hackman is supposed to be a misled good guy. Yet he's guilty of, what?, would it be manslaughter? Womanslaughter? First-degree male chauvinist swinery? His character is supposed to be basically sympathetic, and he and the director play it that way, after establishing him as a politician unwilling to play along with the militarists in Congress. But he's pretty weaselly when you come right down to it -- begging Costner not to give him away, promising him anything -- promotions, better jobs, whatever. And in the end he seems willing to let all the blame fall on his assistant, Will Patton.

    In many ways, it's Patton's movie. Patton is to Hackman more or less what Martin Landau was to James Mason in "North by Northwest," a jealous and protective buffer between his master and the rest of the world. And Patton does a superb job here. After accidentally killing his girl friend, Hackman stumbles into Patton's apartment, needing "someone to talk to before I go to the police." As Hackman spills out his story, Patton hovers over him with a troubled meaningless grin, both his hands fluttering around Hackman's shoulders from behind, as if ready to massage his trapezius. Patton's eyes bulge with surprise and concern. In an earlier scene when Hackman is dressing for a date with Young, Patton carefully brushes some unseen specks from the shoulders of Hackman's dark jacket, preparing his crush for an encounter with his own rival. And watch the expression on Patton's face when he's alone in the gymnasium with George Dzunza and Dzunza spills the beans about Costner's knowing everything. The changes Patton's features undergo are so subtle, the stretched fatuous smile relaxing into the open mouth of utter surprise. What an opportunity for a lesser actor to overplay the reaction, but Patton holds it all in place. That grin turns from idiotic to reassuring in a scene in which Hackman hits Patton in the head with a neatly flung folder full of papers. In context, the actor's natural slight lisp is menacingly telling. We really didn't need Fred Dalton Thompson to inform us in his boring monotone that the character was "a homosexual." I suppose the line was in the script because it was designed to enlighten some elderly folks who may never have left their home in Elko.

    It's a catchy movie. I didn't find the opening that slow. Except I guess I've seen enough heated sexual encounters in the back seats of limos and taxis. This one harks back to Angie Dickinson's scene in DePalma's "Dressed to Kill." Knowing DePalma one wonders if the idea came to him from Hitchcock's oft-repeated fantasy of the woman who acts like a perfect lady until she gets you in the back seat of a taxi and immediately opens your pants. (In Hitchcock's fantasies it was always an icy blonde.) It's worth seeing this, if only to watch the visual imagery, enjoy the acting, and let the narrative take you along in its own exciting way.
    matahar

    A brilliant cold war thriller that is as rivetting today as it was when it was made in 1987.

    "No Way Out" is one of the most original, suspenseful, tightly-knit thrillers ever made, comparable to John Frankenheimer's "Seven Days in May". Set in the Cold War era, Gene Hackman plays the Secretary of Defense, a married man obsessed with his mistress, the exquisitely beautiful Sean Young...as is her other secret lover, Costner, a Naval Admiral who is the C.I.A.'s Liaison. When Hackman accidentally kills Young in a jealous rage, a cover-up begins to find the notorious, never-seen Russian mole "Yuri" who works within the Pentagon, and to frame him for the murder. Costner is commanded to oversee the operation, and the action begins...and is sustained with the intensity of a race on the Autobahn. The amazing all-star cast also features Will Patton, George Dzunda, Iman and David Paymer. Costner delivers what is perhaps his most subtle performance. What distinguishes "No Way Out" is its brilliant plotting, tautness, and constant surprises...with the ending being the most deliriously mind-blowing surprise of all.
    gagewyn

    Sleazy beginning, but good

    No Way Out is a suspense movie set during the cold war. Political intrigue within the US government is the focus of the film. The politically powerful Brice accidentally kills his mistress. Things get out of hand and he decides to frame her other lover as a spy. He knows that she is seeing someone else but has no idea who. Farrel, her other lover, is the man assigned to her case. He realizes that the investigation will eventually expose him, and when the investigators begin using a computer to restore a partially developed polaroid of Farrel found in the dead girlÕs things he has a good idea of how much time he has. There are some tense moments as Farrel trys to expose Brice before he is caught. Also there are a string of neat twists at the end, which succeed in not being corny.

    This is worth your time. I definitely recommend it for fans of military suspense or cold war movies.
    8Tin_ear

    Underrated

    The last quarter drags on a little too long, and the characters and their decisions often seem unrealistically erratic, but it all comes together in the end. I was surprised this movie was able to pay off so well. The finale comes out of nowhere, but it provides the plot and main character some depth.

    Music is corny though. Some of it sounds like it was made for a bad '80s TV show. That's my lone complaint.
    7andrewrigby1

    Good thriller with one terrible scene

    A solid thriller. Costner and Hackman on good form. The tension is skilfully ratcheted up, particularly after the slow-ish start (the first third of the movie establishes the groundwork but isn't that interesting in itself). The twists and turns are neatly handled and the plot sticks to the landing without losing itself to excessive silliness. Good stuff!

    But that scene where Costner and Sean Young get it off in the back of the car to the smooth sounds of an 80's power ballad is amongst the most horrifically cliched 80's sex scenes you'll ever see in a movie. Just when it can't get any worse: the saxophone comes in! Thankfully it doesn't hijack the rest of the movie.

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    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      The dialogue in the limo in which Tom asks the driver to raise the sliding partition was improvised and initiated by Kevin Costner. As the other actors' reactions seemed more natural than the scripted version, it was kept in the final print.
    • Pifias
      Farrell is awarded the Navy Cross for saving a sailor during a storm. The Navy Cross is only awarded for gallantry in combat.
    • Citas

      [last lines]

      Schiller: [speaks Russian] We thought we'd never see you again.

      Tom Farrell: [speaks Russian as well] So did I.

      Schiller: Couldn't you have manage this better?

      Tom Farrell: Not so fast, it's difficult for me to follow in Russian.

      [switches back to English]

      Tom Farrell: It's been very long for me.

      Schiller: How thirsty you must be for the sound of our language.

      [switches to English]

      Schiller: Evgeny Alexeivich, wouldn't you love to hear Russian again? Imagine Pushkin, Lermontov, Tolstoy...

      Tom Farrell: ...Solzhenitsyn, Aksyonov.

      Schiller: [chuckles] Even them, always the sense of humor. In the Philippines, when you passed a bag of underwear, Moscow wasn't amused. I should've acted then. In any case, it's no longer possible for to remain United States. This bizarre incident has given them their Yuri. Evgeny, think. THINK! You're a hero of the Soviet Union.

      Tom Farrell: [darkly] I'm not a hero.

      Schiller: Be that as it may, you must return!

      Tom Farrell: [annoyed] I came here! I thought I owed you that - but you can't make me go back.

      [Tom leaves until the two men cock their guns]

      Schiller: No! Let him go.

      [Tom resumes in leaving]

      Schiller: He'll come back. Where else can he go?

    • Créditos adicionales
      The opening credits appear in orange and then disappear, similar to the reconstruction process for the incriminating photograph of Tom.
    • Conexiones
      Featured in Siskel & Ebert & the Movies: The Big Easy/The Fourth Protocol/No Way Out/Tampopo (1987)
    • Banda sonora
      No Way Out
      Words & Music by Paul Anka and Michael McDonald

      Performed by Julia Migenes and Paul Anka

      Produced by Denny Diante

      Arranged by Robbie Buchanan

      Courtesy of CBS / Columbia Records

      Published by Paulanne Music, Inc. and Genevieve Music

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    Preguntas frecuentes

    • How long is No Way Out?
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    Detalles

    Editar
    • Fecha de lanzamiento
      • 19 de abril de 1988 (España)
    • País de origen
      • Estados Unidos
    • Sitio oficial
      • MGM
    • Idiomas
      • Inglés
      • Ruso
    • Títulos en diferentes países
      • Sense sortida
    • Localizaciones del rodaje
      • Hotel Washington, 515 15th Street, NW, Washington, Columbia, Estados Unidos(Rooftop meeting between Pritchard and Bryce)
    • Empresa productora
      • Orion Pictures
    • Ver más compañías en los créditos en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • 15.000.000 US$ (estimación)
    • Recaudación en Estados Unidos y Canadá
      • 35.509.515 US$
    • Fin de semana de estreno en EE. UU. y Canadá
      • 4.259.460 US$
      • 16 ago 1987
    • Recaudación en todo el mundo
      • 35.509.515 US$
    Ver información detallada de taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      1 hora 54 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Dolby Stereo
    • Relación de aspecto
      • 1.85 : 1

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