Face/Off

John Woo knows, if anybody, how to make good, stylish action. And that's exactly what this film is; good, cool, stylish action. The plot is great; fairly psychological and quite interesting. It has a fast(and remarkably even) pace, I don't think more than 30 minutes passes at any point in the movie without a giant action scene. All in all, I'd guess there are about four or five major shootouts, and two chase scenes which are each several minutes long(without getting repetitive, fortunately). The acting is excellent; every single major part is well-played. John Travolta, Nicolas Cage, Joan Allen, Alessandro Nivola, Gina Gershon, Dominique Swain... all give great, entirely believable performances. The best are definitely Travolta and Cage, though; fantastic, truly stellar performances. The characters are all well-written and credible, right down to the most minor one. The action is cool and very stylish, in every single action-scene. The theme of the film is great; of course, the story is completely unlikely, with the face-switching and all, but once you get past that, once you suspend disbelief, you'll most likely enjoy the film thoroughly. The script is excellent, plenty of action, drama, and thriller parts. Also, you gotta love the sharp contrast 3/4's into the movie, with the kid listening to sugary pop-music, while people are shooting intensely at each other. Great film. I recommend it to any fan of John Woo, Nicholas Cage, John Travolta and action films. 8/10

This would not have worked had it takes itself seriously.

This film has some of the cagiest Nic Cage moments ever. And I love crazy Cage.

Face\off is the REAL masterpiece by John Woo (at least among his movies directed in the USA). It's spectacular, touching, tough and strongly directed.

Here there are a bunch of references to all his precedent movies, in particular to "The Killer" and "Hard Boiled" , with all their poetic in those long shoot-out which look like classical ballets, in that hyperbolic violence which actually is self ironic, in that kung-fu fights derived by Hong Kong film industry.

Eventually John Travolta and overall Nicholas Cage perfectly play the "literary" theme of doubles. 9\10 without second thoughts.

This one has a tough job of convincing the audience that the main characters, Travolta and Cage, could swap faces via plastic surgery and still be convincing as one another. It works! Woo has a certain style down-the long flowing robes, slow mo shootouts, orchestral hype in the background, furious shoot outs, explosions, etc. Essentially a more stylish Bruckheimer movie if ya think about it.

I have always liked the Bald guy and Gina Gershon here the most from the supporting cast, and enjoyed the way both the leads got to 'understand' the others' family, way of life, friends, etc. You have to like how Castor gets Travolta's girl to learn knife fighting, for example, or seeing the camaraderie of Cage's group.

Good shootouts and action, sometimes the conceits here are quite far flung, but you can live with that as an audience. I sure did, and so give this...

*** outta ****, it's quite good

FACE/OFF

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.