Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
Following a truck hijack in New York, five conmen are arrested and brought together for questioning. As none of them are guilty, they plan a revenge operation against the police. The operation goes well, but then the influence of a legendary mastermind criminal called Keyser Söze is felt. It becomes clear that each one of them has wronged Söze at some point and must pay back now. The payback job leaves 27 men dead in a boat explosion, but the real question arises now: Who actually is Keyser Söze? Written by
Kevin Spacey had to read the script twice when he first received it, to make sure he fully understood it. See more »
When Keaton is sitting on the bench in the cell after the line up telling McManus to shut up, his shirt collar alternates between being under his jacket, and outside his jacket between shots. See more »
The editor, John Ottman, edited the movie on film. He felt that all the editing done electronically at the time was horrible because all the good editors were still working on film (which is much more difficult). Because of this he thought about putting "Edited on a piece of s*** Steenbeck" at the end of the credits, but instead settled for the more subtle line "Edited on film." Tim Robbins was directing 'Dead Man Walking' at the time and heard about John's idea, which sparked that film's credit ending of "This film was edited on old machines." See more »
If plagiarism were a crime in film techniques, director Bryan Singer would be imprisoned for life. Screenwriter Christopher McQuarrie would be serving a similar sentence. However, since it is not, Singer and MacQuarrie (who have joined forces again after the not-so-successful PUBLIC ACCESS) took advantage and duplicated nothing but the best. From CASABLANCA to PULP FICTION, and even a version of a line (intentionally or otherwise) from BUTCH CASSIDY AND THE SUNDANCE KID.
Many people oppose watching a film with a twist a second time. I disagree. By watching it again you can observe how the director and the screenwriter have hidden and revealed clues, how they have tried to steer the audience away from the ending. First time is for entertainment. Second time is for art. This film is certainly worthwhile to see again. To date, I have watched it five times. (Two of those five times I thought, 'well, I'll just watch about half-an-hour,' but ended up watching the entire film because it is so entertaining.) I'm not exactly a noir fan, so it is assured that this particular crime film appeals to a wider audience.
THE USUAL SUSPECTS has a skilled director, an engrossing screenplay, and ten praiseworthy performances. The film runs a fast 105 minutes. Don't miss a minute of it.
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