Snake Eyes

I saw this film for the first time the other day, and I was blown away! Not only is the story mysterious and compelling, but the techniques De Palma uses are amazing!

The first 12 and a half minutes is one big shot! That's incredible! And the split-screen sequence is very welcome, simply because the split-screen isn't used enough any more. As my brother, who watched the film with me, said, "The split-screen hasn't been used effectively since Wood-Stock!" I Agree with him. What a great film.

That being said, it isn't De Palma's best. That would probably be The Untouchables.

A movie with excellent plot twists combined with outstanding camera work.

Most people didn't like this movie, from what I have heard and read over the years. Some of my friends who saw it didn't like it either. For some reason, I did, and that was despite a few things I normally don't put up with (too much usages of the Lord's name in vain and the usual anti-military agenda.)

However, I found this a very fast-moving, involving story with Nicholas Cage playing an extremely interesting person: "Rick Santoro," a guy who acts like a complete crazy man at the beginning but slowly gets it together as the film goes on. Gary Sinise plays his normal corrupt role (this was before his CSI: New York days) and Carla Gugino was very easy on my eyes.

Brian DePalma directed this, so you know it's going to be stylishly shot, too. This looks really, really good on the recently-released Blu-Ray.

All the characters are interesting, actually. One complaint I agree with: the ending was a bit weak and detracts from the story. It's a rough film but edgy and interesting. Don't be discouraged reading a lot of negative reviews about this. It's good entertainment.

Overblown, overdirected, overacted: that's why I always enjoy DePalma's movies. He made the statement that the camera lies 24 times a second, and SNAKE EYES plays on that theme.

De Palma's camera is constantly in motion, roaming through the arena, casino , and hotel as if it had a life of its own. At the beginning of the film we watch Nick Santoro (Nicolas Cage) as he swims through the sewer (his words) that is the Atlantic City casino world. He tells us, "This isn't a beach town. It's a sewer. It's my sewer, I am the king."

It's literally a dark and stormy night. A hurricane (a tv reporter is pressured to refer to it as a 'tropical depression' on the air) is coming ashore, and 14,000 people are gathered at a casino complex to watch a prizefight.

There's a shooting during the fight, and Cage orders the exits sealed; who would go outside into a hurricane remains a mystery, but anyhow. There are two mysterious women involved in the incident, and as time passes he realizes that there were lots of people involved, possibly even his longtime friend Navy Commander Dunne (Gary Sinese) who is as straight-arrow as Cage's character is sleazy.

By the end of the story Cage is working toward redemption- even though during the early part of the film it's made clear that he sees everything as having a price.

There's one point where he is offered a million dollars to reveal where one of the women (she knows a lot- too much- about a defense contract, and was talking to the Secretary of Defense when he was shot) is hiding. And there 's a very real chance that he might give in, or be unable to protect her when the danger gets intense.

Men in De Palma's films have a way of failing to come through for women in critical situations. An executive couldn't save his wife in OBSESSION. A young actor couldn't protect a mysterious, beautiful woman in BODY DOUBLE. The nicest guy in school couldn't keep the outcast/prom queen CARRIE from humiliation and its awful consequences. In the superb BLOW OUT a movie soundman rescues a young woman from a sinking car early in the story, but is too late to save her from a madman at the film's conclusion.

So there is no guarantee of a happy ending. Self doubt weighs heavily in De Palma's films, and often people's best efforts are to no avail.

Admittedly David Koepp and De Palma's script is something of a problem. There's a complex conspiracy underfoot, and conspiracies are low on my list of compelling things- I got burned out on them in the seventies.

Far more compelling is the great fun that Cage has with his character. Boy, does he get to chew scenery here. Constantly in motion, talking on his cell phone (even during a hurricane; some of my friends can't use theirs when a cloud passes over the sun), interacting with the low life characters around the casino.

And, oh, does DePalma have fun with the whole thing. Of course, nothing is what it seems to be. He retells the action from the viewpoint of this or that character: we sometimes literally see what happened through that character's eyes. An important setpiece in which we finally see what really happened in clear perspective uses split screen imagery- and in the theatre where we saw SNAKE EYES the use of stereo sound was an integral part of the seperation of images.

For all the bravado of his performance, I was impressed with Cage's ability and willingness to share the screen with other actors. In some of the retellings he is a supporting character or featured extra, and as an actor he's more than willing to let our attention shift to someone else. A lesser actor might have been afraid of that shift of focus. Way to go, Nicolas. That's a real sign of maturity as an actor.

So did I buy into De Palma's bag of tricks? Yup, 100%. It's nice to see a movie that isn't afraid of the old razzle-dazzle. I do appreciate subtlety and complex ideas- that's why I'm a voracious reader. I really don't think I'd enjoy De Palma directing an adaptation of a Jane Austen novel or REMEMBRANCE OF THINGS PAST. The Merchant- Ivory people do that sort of thing so nicely. But it was nice to sit back for an hour and a half and let a master showman use illusion to fool us and let our eyes fool our brains.

On a five scale, Pops gives it four slot machines.

Whether you are a fan of Cage, De Palma, Sinise or pulpy vintage thrillers, "Snake Eyes" has some goodies to offer. The guys are having all kinds of good fun, going about movie's biggest flaw, a plot that wants to be grounded, suspenseful, gritty, but loses plausibility and momentum the deeper we go. If You can turn a bit of a blind eye to that, welcome to Cage's world.

Brian De Palma has made Nicolas Cage into the admirably positive minded, flamboyant, deeply flawed hero Ricky Santoro, a hotshot police detective with the amount of energy only Nic can provide. The story takes place on one night during a boxing match taking place at Atlantic City Casino, which Ricky attends together with his friend and naval officer Kevin Dunne (Gary Sinise). Little did Ricky know, a massive criminal conspiracy is about to manifest itself with the murder of an important political figure right in the middle of the fight. Ricky, naturally, decides to uncover the mystery on his own and his own way.

"Snake Eyes" start enigmatically, beautifully, with the camera spinning up a 20 minute continuous dance, making first introductions and yet unknown connections between the variety of characters we'll see later on. Straight away it's more than apparent that fans of Cage like myself are in for a treat. Overacting it may be, I don't feel privileged enough to tell given the amusing character of Ricky, but take away Nicolas from the equation and, trust me, it looks worse now. A character like Santoro fits his energetic and amusing nature. As he's flowing around and interacting with an entertaining cast of familiar faces and good performances (Carla Gugino, Luis Guzman, Stan Shaw, Kevin Dunne), solving all kinds of little, pulpy, episodic, amusing problems, the bigger, more boring conspiracy is also uncovering. When the big cat's out of the bag, which is like half-way through the film, that's where "Snake Eyes" become slower, less exciting and a lot more predictable, or in other words, disappointing. The first half is a decent pulp dime novella, and the second an uninspired chase thriller.

Multiple perceptions of a singular event, relationships between them, and the audience, is what "Snake Eyes" is mostly about, and I wonder what would've come out of it with a richer story and a less lackluster ending. De Palmas relentless visual style, paired with Cage's unique charms and the lively, saturated setting of a huge event in an arena, provides enjoyable jolts of pulpy melodrama. But when all the tricks are played, we are left with a movie too typical to ascend above others... Visually, the intro sequence is not the only impressive part, so those aspects endure, despite some other minor technical flaws (or bad ideas), like almost cartoon-like swooshing sounds during the boxing scenes.

"Snake Eyes" is not a great movie, but I do have a good amount of appreciation for it, particularly Palma's direction and, you know, Cage for the win! As a mystery/thriller of the 90's, it should please the seekers of such flicks. As for Cage fans, assemble, it will please. My rating: 6/10.