Mentre un impiegato del dipartimento di sicurezza pubblica addestra la sua giovane sostituta, deve trovare una bambina la cui scomparsa è convinto sia relazionata con un molestatore sessuale... Leggi tuttoMentre un impiegato del dipartimento di sicurezza pubblica addestra la sua giovane sostituta, deve trovare una bambina la cui scomparsa è convinto sia relazionata con un molestatore sessuale su parola su cui sta indagando.Mentre un impiegato del dipartimento di sicurezza pubblica addestra la sua giovane sostituta, deve trovare una bambina la cui scomparsa è convinto sia relazionata con un molestatore sessuale su parola su cui sta indagando.
- Harriet Wells
- (as Kristina Sisco)
- Errol's Colleague #1
- (as Victoria Gale)
Recensioni in evidenza
Well, I did. I usually tolerate Gere for his looks and his charm, and even though I did not consider him a great actor, I know he can do crazy pretty well (I liked his Mr Jones). But this performance is all different. He is not pretty in this one, and he is not charming. His character is completely different from anything I had seen from him up to that point---old, ugly, broken, determined. And Gere, in what to me is so far his best performance ever, pulls it off beautifully. I guess it is a sign of how well an actor does his job if you cannot imagine anyone else doing it instead---think Hopkins as Hannibal Lecter, or Washington as Alonzo in Training Day. That is how good Gere was here.
The rest of the cast were fine by me, too. I guess I would not have cast Danes in this role, mostly because I think she is too good-looking for it. But she actually does an excellent job, holding her own with a Gere in top form, which is no small feat. Strickland easily delivers the best supporting act, in a part that requires a considerable range from her. I actually think she owns the key scene with Gere and Danes, and that is quite an achievement.
So what about the rest of the movie, apart from some excellent acting? The story is perhaps not hugely surprising, some 8mm-ish aspects to it, but adding the "veteran breaks in rookie" storyline to the who-dunnit, and also (like Silence of the Lambs) adding a sense of urgency through trying to save the girl and the impending retirement of Gere's character. All that is a backdrop to the development of the two main characters, as they help each other settle into their respective new stations in life. That's a lot to accomplish in a 100 minutes, but it is done well, and we end up caring for the characters and what happens to them.
Direction and photography were adequate. I could have done without the modern music-video camera movements and cutting, but then I am an old curmudgeon, and it really wasn't all that bad, in fact I think it did help with the atmosphere of the movie, which as you might have guessed, by and large isn't a happy one.
Worth seeing.
It's professionally produced, pairs Claire Danes memorably with Richard Gere, and makes their interplay (standard retiring-burnout-and-protégé) entirely believable in most ways.
The gore and corpses aren't beyond those in many modern horror movies, though the camera often lingers more than it should. The fetishes (and worse) of Gere's monitored ex-cons shouldn't shock anyone who's ever been in a triple-X shop.
Danes's acting is superb, especially in pursuing an abductor's trail (standard police-procedural, though by non-cops) with Gere's brooding and effective Errol. What blew a hole in this, though, is that she was miscast in the first place.
Even though one of Gere's well-worn "flock" is female, nearly all are intimidating men, and the role her character Allison is training to take up calls for more heft. Both physically and professionally.
I didn't believe for one minute that Allison chose such a grueling job out of anything more than economic need, certainly not from any more personal calling. No hints are made as to her motivation, nor is anything mentioned of her personal life, beyond nosy behavior and a clumsy allusion by compulsive background-checker Errol.
It's a miscasting on a par with what was done with Danes in "The Mod Squad," but unlike that idiocy of a plot-mangled remake, this gives Danes a quite strong setup — and much gore and many sad fetishes — to play against. If you accept that someone of her perception and refinement would ever take that job in the first place, that is.
Turn to it on cable, but I wouldn't take the effort to even go to the video store or put it in a Netflix queue. It's worth one viewing.
(Most of this review originally appeared on the IMDb board for Claire Danes, followed by considerable discussion.)
"The Flock" is a movie with unpleasant and bigoted story and characters with a good and dark cinematography but terrible edition and camera work. The ambiguous character of Richard Gere has a despicable behavior in spite of solving the case, and it is impossible to feel any empathy for him. In the beginning, there are statistics about the theme "sex offenders", and I do not know whether they are realistic or generated by a North American obsession that considers a sexual offense or harassment certain attitudes accepted by other societies. This film seems to be intended to spread a sort of concern and prejudice against those that have been condemned but paid their debt with the society, since they have been released on probation by the justice. My vote is six.
Title (Brazil): "Justiça a Qualquer Preço" ("Justice at any Price")
Lo sapevi?
- QuizPrologue: "There are over half a million registered sex offenders in the United States. For every 1000 offenders, there is only one caseworker that monitors them. Every two minutes a woman or child is sexually assaulted in America."
- BlooperAs Gere's and Dane's characters are in the car chasing after Custis, Custis hurls a garbage can at the windshield. We see from the inside as the windshield becomes a spiderweb of cracks, thus causing Gere to careen into the conveniently located pile of soft garbage nearby. The pair leaps out of the car and the windshield is suddenly repaired.
- Citazioni
Erroll Babbage: People like Paul and Viola Gerard don't just tell lies, they *are* lies. In public they're decent, socially-responsible folk who look you in the eye, but never long enough to make you uncomfortable. They shake your hand, pat you on the back, but never overdo it. They're Christian if you are, they swear if you do, and they do this because people like you wrongly believe that public presentation tell us all about private lives.
- Versioni alternativeAfter the film was released in European and Asian markets, several portions of the film were reshot and the entire film was basically reedited. The result is that the tone of the US version is less bleak and grim.
- Colonne sonoreKnocking on Old Doors
Written by Tracy Hall
Performed by Tracy Adams
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Dettagli
Botteghino
- Budget
- 35.000.000 USD (previsto)
- Lordo in tutto il mondo
- 7.155.358 USD
- Tempo di esecuzione1 ora 45 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1