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| Source: rec.art.movies.reviews newsgroup | | Rating: 4
| For weeks I have prayed to the movie Gods for a film that would give me a sustained adrenaline rush, would have really strong characters, and would give me something to remember this summer by. Finally, my prayers have been answered. Face-Off is my deliverance from the normal humdrum summer action fare. Directed by the stylistically supreme John Woo, he gives us something to relieve us from the summer heat´a really cool movie.
For 6 years, FBI agent Sean Archer (John Travolta) has been on the trail of psychotic killer Castor Troy (Nicholas Cage). And, he gets his chance to catch him very early on in the film. Quickly, we are treated to a visceral offering of gunplay, violence, and terrific action as Archer finally gets his man. This kind of action would be the finale for most movies. But, here, it is just the start of what's to come. Troy is captured -- and left in a coma -- but Archer soon discovers that Troy has left a giant time bomb where it will kill everyone within one square mile. Archer must discover the whereabouts before it blows. But the only other person who would know is Troy's brother, Pollux, who was also captured in the initial gunfight. But how can they get Pollux to reveal the location of the bomb?
When the Bureau's high-tech medical division informs him of new surgery techniques, Archer conceives a plan. He'll allow the physicians to give him Troy's face -- literally -- and he'll assume Troy's cruel but charismatic personality. They'll also surgically implant a microchip to alter his voice to be just like Troy's. Then he'll go into a maximum-security prison and trick Pollux into mentioning where the bomb is ticking. So far so good.
However, Troy awakens from his coma. He's not quite feeling himself anymore, so with the help of some of his goons, he forces the physicians to put Archer's face on his skull. The identity swap is now complete (Troy is now Travolta and Archer is now Cage). Troy/Travolta then kills everyone who knew of this project and burns down the facility. He then uses his new identity to get into Archer's house -- and next to the agent's unsuspecting wife (Joan Allen) and extremely pretty daughter (Dominique Swain), while Archer-as-Cage is now stuck in a maximum-security prison Í alone and enraged that he has the face of his most hated enemy, and fearful for the safety of his family. Archer/Cage must escape and must face off with Troy one last time.
Well-scripted and well-choreographed, this is an operatic and intensely violent fable about two men who pursue each other through hell and back. Cage and Travolta display genuine gusto for their roles (both when each one is bad and good) and despite the switch in identities, we are always in step with their characters. When we see Cage or Travolta walk in, the audience knows who they really are. The arrogant and flamboyant Troy/Travolta endures a quiet, domestic, suburban life and a subdued Archer/Cage makes his way into the kinetic frenzy of the underworld marked by drugs and fast women. And although they find poignant lessons in their new surroundings (Troy trying to teach Archer's daughter how to defend herself or Archer learning about loyalty from the goon set), their hatred for each other consumes them. Troy/Travolta definitely has the upper hand because he now has the resources of the FBI. Archer/Cage is now wanted dead or alive. And, even if he survives, will he ever regain the family that was taken away because no one knows who Archer-as-Cage really is? A spectacular final confrontation is inevitable and we are not disappointed with the finale.
In the world of Woo, movie-watching is a whole new experience. There is a delirious mixture of spectacular gun battles, furious explosions and breathtaking stunt work. Gun battles and terrorist attacks are staged like ballets, bullets spray across every inch of the screen and even the most mundane scenes are brought to life as captured in poetic slow motion. Cage languished in Con Air, but here he sizzles. And Travolta infuses energy and hipness. This hot summer, treat yourself to something refreshing and something cool. This is one not to miss.
By : Homer Yen
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| | Source: rec.art.movies.reviews newsgroup | | Rating: 4
| Face off. It refers in many ways to two rival parties squaring off in competition. In this latest film from internationally acclaimed action director John Woo, the title is literate. John Travolta plays an FBI man who assumes the identity of a terrorist he's captured (Nicolas Cage) in order to get inside Cage's band of criminals by going undercover to prison to find the location of a biological explosive set to go off somewhere in the Los Angeles area.
The procedure in which Travolta assumes Cage's identity is quite unusual. Cage is in a coma after being captured and his face is cut off with lasers and is placed over Travolta's face and the only problem is that Travolta's face has to come off as well and Cage awakes from his coma in the hospital and calls upon his goons to force the doctor who performed the surgery on Travolta to do the same on him using Travolta's face. Travolta is caught in a nightmare to say the least as he's now locked in to Cage's identity and must remain in prison with no chance of reversal since the team who performed the surgery is murdered by Cage. Cage assumes the life Travolta had which includes a promotion within the FBI and the pleasures of Travolta's home life including a relationship with his wife (Joan Allen).
This is a high-tech, original and slick minded action picture that has both leading men in fine form and Cage is a treat to watch as the bad guy and Travolta has Cage's mannerisms and style of presence down to a tee once he assumes his identity. It's a confusing parody to discuss and it's a little bit like that old Abbott and Costello joke about who's on first. When you talk about the movie it's hard to distinguish between the two actors in the reversal of roles and director John Woo has a knack for making action films much more meaningful by utilizing the academics of craftsmanship from his actors. Even a terrible actor like Jean-Claude Van Damme came across well in Woo's 'Hard Target' from 1993. 'Face-Off' suffers only from over length and a screenplay that could have resolved things better in the end but with so much to please the senses on the screen, these things seem innocuous.
By : Walter Frith
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