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No Way Out Movie |TOP|

In the opening scene of the movie, set in a house in Washington, DC, near the Pentagon, Lieutenant Commander Tom Farrell of the Office of Naval Intelligence is shown being debriefed by two other men. He is tired and bloodied. His interrogators press him on how he came to meet Secretary of Defense David Brice.

No Way Out Movie

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Roger Ebert gave the film 4 out of 4 stars, calling it "truly labyrinthine and ingenious."[8] Richard Schickel of Time wrote, "Viewers who arrive at the movie five minutes late and leave five minutes early will avoid the setup and payoff for the preposterous twist that spoils this lively, intelligent remake of 1948's The Big Clock."[9] Desson Thomson of The Washington Post wrote, "The film makes such good use of Washington and builds suspense so well that it transcends a plot bordering on ridiculous."[10]

The movie begins with the same basic situation that was always one of Alfred Hitchcock's favorites: An innocent man stands wrongly accused of a crime, and all the evidence seems to point right back to him. In "No Way Out," there are a couple of neat twists. One is when the innocent man is placed in charge of the investigation of the crime.

All of those details are handled in the first few minutes, and then the movie springs a genuine erotic surprise. Costner goes to a diplomatic reception to meet Hackman. There is a beautiful young woman at the party. Their eyes meet. The chemistry is right. They leave almost immediately, and the woman throws herself at Costner in hungry passion.

The movie contains some of the ingredients I have declared myself tired of in recent thrillers, including a couple of chases. But here the chases do not exist simply on their own accord; they grow out of the logic of the plot. And as the plot moves on it grows more and more complex, until a final final twist that some people will think is simply gratuitious but that does fit in with the over-all logic of the plot.

Movies such as this are very hard to make. For proof, look at the wreckage of dozens of unsuccessful thrillers every year. "No Way Out" is a superior example of the genre, a film in which a simple situation grows more and more complex until it turns into a nightmare not only for the hero but also for everyone associated with him. At the same time, it respects the audience's intelligence, gives us a great deal of information, trusts us to put it together and makes the intellectual analysis of the situation one of the movie's great pleasures.

But Pisharody displays his limits in exploring the marvels of the artistry in phasing through myriad psychotic forts and leaves the audience to witness the static, stress-filled countenance throughout the movie.

Raveena Nair as David's wife Suju, Dharmajan Bolgatty as Subhash and Basil Joseph as Rejimon are other actors who appear as prominent characters in the movie. While David's mother and friend Ravi make their presence strongly felt through their voices.

No Way Out is the best of the social message subset, yet it is often overlooked in discussions of film noir. Directed by Joseph L. Mankiewicz and starring Richard Widmark and Sidney Poitier, the latter in his first major screen role, the 1950 movie brought the subject of racism into Hollywood cinema in an explicit way. More than 70 years later, there is still so much to gather from this little-remembered 20th Century Fox release and its place in history.

In the movie, Poitier plays Luther Brooks, a young doctor in residence at a county hospital. His supervisor, Dr. Wharton (Stephen McNally), treats him like all his other new doctors, throwing him into any medical dilemma. However, due to the anxiety of being the only Black doctor in the hospital, despite being extremely hard-working and diligent, Luther is often unsure of himself.

The slurs, the race riot, and the criticism of American society all contributed to bans on No Way Out across the US in 1950. In Chicago, racial tensions were very high over zoning laws, and police feared audiences would find inspiration in the movie. They required a whole three minutes to be cut before it could be shown in the city.

Southern theaters unsurprisingly refused to show it at all, and several states had temporary bans, including Pennsylvania and Ohio. Zanuck and Mankiewicz knew this would be the case, as the Production Code Administration tried to convince them to cut the riot scenes to appease conservative viewers before the release of the movie. They refused, and the box office numbers suffered because of it.

It was, after all, written and directed by white men, from their perspective, even though they wanted to focus on a Black character. Problems were present in the making of the movie as well. Black actors were not treated as fairly as white actors. Mankiewicz had to stop production while filming the riot scenes because the Black extras were protesting unequal pay compared to the white extras.

Today, No Way Out allows us to see how representation has evolved or not evolved over the years. If this was the first to depict the ugliness of racism, then why are we still limiting Black characters the same way Luther was in 1950? Important older movies like this can still thrill and entertain modern audiences, but they can also reveal a lot of what we still need to work on as a society as well as what Hollywood still needs to work on in shedding light on these problems.

By the late 1940s, Sidney Poitier had overcome his thick Bahamian accent and inability to sing and dance fluently, which had held him back during his early days as a struggling stage actor living in New York City. He was working for the American Negro Theater, the same theater that had initially rejected him due to these shortcomings, which led to his casting in a Broadway production of Lysistrata. Though the play only ran for a few days, it led to a series of other smaller Broadway roles that helped establish Poitier as an up-and-coming actor. It was around this time that director Joseph L. Mankiewicz had begun a lengthy process of auditioning actors for a film concerning the racism faced by a Black doctor working in a prison ward. As far as the movie roles that were available to Black actors at the time, it's hard to think of one that was more ideal for Poitier, since he was able to establish his film career with a role free of stereotypes or marginalization. This created a path for him to navigate a career in which he could choose only to play the kind of noble, upstanding characters who non-white moviegoers yearned to see themselves in.

When a BPD lady is murdered by her lover, the secretary of defense, only one man can solve the case: another guy who was also fucking her. Extremely bozo 80s sex scene in this with Sean Young and Kevin Costner, just clowning in the back of a limo as a song called "No Way Out' plays as they drive by some classic Washington DC sights. There's another scene where Costner eats bugs off a windshield on romantic weekend retreat. Oh and he's also a secret Soviet spy. You find that out in the last 10 seconds of the movie and it doesn't matter.

No Way Out was a Limited release in 2022 on Friday, August 12, 2022. There were 13 other movies released on the same date, including Mack & Rita, Inu-Oh and Fall. As a Limited release, No Way Out will only be shown in select movie theaters across major markets. Please check Fandango and Atom Tickets to see if the film is playing in your area.

No Way Out is a tense thriller from 1987. It's one of two movies released that year that pushed Kevin Costner onto the A-list. The other being The Untouchables. Although that other movie garnered more attention, including an Oscar win for co-star Sean Connery, this movie deserves to be remembered as well.

This is one of those movies with many twists and turns. If you haven't seen it, I actually urge you to do so before reading anything else about it. Much of the fun is seeing what will happen next. I won't give away too many details, but it's too difficult to write about this movie without giving away some things.

While that may seem like a lot of plot detail to give away, there is still plenty of mystery left in this movie. And, just when you think everything is resolved, the plot throws one last twist at you in the final few minutes of the story.

The cast is terrific. Sean Young is vulnerable and attractive, in a very 1980s sort of way. She and Costner share some serious heat in the back of a limousine. Hackman could play this part in his sleep, but he brings his usual screen presence to the role. Will Patton is the real villain of the piece and he plays the slick Washington insider well. This is Costner's movie though and he does a great job. His character is in way over his head and struggling to stay one step ahead of everyone else. He demonstrates plenty of charm, movie star good looks and leading man capability.

This movie is a great time capsule. It is set at the height of the Cold War and combines a 1940s gritty film noir style with the colorful, big-haired, lots of gratuitous nudity of the 80s. As Scott wrote, what was then cutting edge technology is now laughably primitive. It brings home the point of just how long ago the 1980s was.

The plot's twists and turns are fun to watch. The final reveal caught me completely by surprise. It remains satisfying although it changes everything that came before. The first half of the movie is all about the heat generated between Costner and Young. They really steam up the screen. The second half is a tense political mystery/thriller. No Way Out is a solidly entertaining film but for me it falls just short of being a 4-star classic.

No Way Out is almost a single-actor film with Pisharody on screen for about 80% of the 97-minute movie. Nithin ably sustains the tension of the survival thriller through elements that have been used in previous such movies too, but weaves them well into this storyline. Fair warning to the viewers that the movie does have some distressing sequences, considering that it deals with a man attempting suicide by tying his hands behind his back and hanging himself, only to find himself in the excruciating predicament for a lengthy time. 041b061a72

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