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Entrapment
***
Cinema
Releases - July 2, 1999
Rated on a 4-star
scale. USA. Directed by Jon Amiel. Written by Ron Bass and William Broyles;
from a story by Ron Bass and Michael Hertzberg. Starring Sean Connery, Catherine
Zeta-Jones, Ving Rhames, Will Patton, Maury Chaykin, Kevin McNally, Terry
O'Neill.
Of all the stupid questions that a man could be
asked, here's the real killer: "Don't you ever stop thinking about sex?"
Since everyone knows men have one-track minds, anyone oblivious enough to
make the inquiry would inspire a halt in conversation and stares of incredulity.
We can try to deny it, but we know it's true. And so does everybody and
everything, even the keyboard I'm typing this on.
Not all movie starlets can inspire me to open
a review with these thoughts. But Catherine Zeta Jones can, especially in
a movie like Jon Amiel's "Entrapment". It exists as a vehicle
to show us a big ol' load o' cool stuff... such as explosions, big castles,
high-tech equipment, speedboats, laser beams, Sean Connery downing quadruple
whiskies... and Miss Zeta-Jones. Yes, plenty of Miss
Zeta-Jones.
The plot introduces Connery as Mac, an ageing
but agile thief, and Zeta-Jones as Gin, an investigator for an insurance
company. As Gin tracks down Mac, and joins forces with him for some elaborate
schemes of art theft and financial fraud, we're initially led to believe
she's under cover and trying to catch him. Then, doubt is cast on whether
her agenda is for or against her insurance company, or even, as Mac suggests,
if she's "playing both sides". Through a screenplay structure based on ludicrous
plot twists, it turns out that neither partner is ever quite what they
seem...
Ludicrous, but not boring. Phil Meheux's
cinematography shows everything in an interesting light -- slick, but also
somehow real, so we can almost feel the stimulating elements onscreen. Add
a swift pace, and the result is a thoroughly professional and involving action
picture. The sex appeal of Zeta-Jones, who handles an American accent flawlessly,
is more effective than it was in "The Mask of Zorro", because it's part of
a more exciting package.
I won't go on for much longer. There's not much
to say -- in offence or defence -- where "Entrapment" is concerned. Unlike
many big Hollywood popcorn movies, though, such as the dumb, brash and ugly
"Godzilla", this one is uncomplicated, sharp and clear enough to just plain
sit back and enjoy.
COPYRIGHT© 1999 Ian
Waldron-Mantgani
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