Spy Game (2001)

User Rating:

6.9/10   

Director:

Tony Scott

Writers (WGA):

Michael Frost Beckner (story)
Michael Frost Beckner (screenplay) ...

Release Date:

21 November 2001 (USA)

Genre:

Action | Crime | Thriller

Tagline:

It's not how you play the game. It's how the game plays you.

Plot:

Retiring CIA agent Nathan Muir recalls his training of Tom Bishop while working against agency politics to free him from his Chinese captors.

Plot Keywords:

CIA | China | Retirement | Prison | Rescue

Awards:

3 nominations

Cast

Robert Redford	...	Nathan D. Muir
Brad Pitt	...	Tom Bishop
Catherine McCormack	...	Elizabeth Hadley
Stephen Dillane	...	Charles Harker
Larry Bryggman	...	Troy Folger
Marianne Jean-Baptiste	...	Gladys Jennip
Matthew Marsh	...	Dr. William Byars
Todd Boyce	...	Robert Aiken
Michael Paul Chan	...	Vincent Vy Ngo
Garrick Hagon	...	CIA Director Cy Wilson
Andrew Grainger	...	Andrew Unger
Bill Buell	...	Fred Kappler
Colin Stinton	...	Henry Pollard
Ted Maynard	...	CIA Administrator
Tom Hodgkins	...	CIA Lobby Guard

Also Known As:

Spy Game - Der finale Countdown (Germany)
Spy game - Jeu d'espions (France)

MPAA:

Rated R for language, some violence and brief sexuality.

Runtime:

126 min | Turkey:114 min (TV version)

Country:

Germany | USA | Japan | France

Language:

English | German | Arabic | French | Cantonese

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

Canada:13+ (Quebec) | Canada:14 (Nova Scotia) | Canada:14A (Alberta/British Columbia) | Canada:AA (Ontario) | Canada:PA (Manitoba) | Iceland:12 | South Korea:12 | Brazil:12 | USA:R (certificate #38577) | New Zealand:M | Argentina:13 | Australia:M | Finland:K-15 | France:U | Germany:12 | Hong Kong:IIB | Netherlands:16 | Norway:15 | Peru:14 | Philippines:PG-13 | Singapore:PG | Spain:13 | Sweden:15 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:15

Filming Locations:

Beirut, Lebanon

Company:

Universal Pictures

Trivia:

In a nod to The Godfather (1972), where oranges signify disaster, Catherine McCormack's character is seen purchasing oranges right before she is abducted.

Goofs:

Continuity: Muir's breakfast switches around between different shots when Bishop gives him the flask.

Quotes:

Nathan Muir: I take it you didn't get to be a marksman putting food on your mama's table.
Tom Bishop: No, sir. We have a Safeway back home.
Nathan Muir: Where'd you leard to shoot?
Tom Bishop: Boy scouts, sir.
Nathan Muir: What, are you kidding me?
Tom Bishop: No, sir.

Movie Connections:

Referenced in "Allemaal film: De amerikaanse droom (#1.6)" (2007)

Soundtrack:

Brothers in Arms

Not just another Tony Scott action film--it's complex, thought-provoking. *** (out of four)

SPY GAME / (2001) *** (out of four)

Tony Scott is known for his big budget, fast-paced, action-packed extravaganzas. His latest film, "Spy Game" is no exception. He takes advantage of a massive budget, but loses sight of human comprehension. It's difficult to grasp his moral when it's awash in a superficial style where individual shots seldom last more than thirty seconds, and where dialogue never exceeds the length of a short paragraph. There's not much time to introduce characters, situations, or even locations-datelines appear on the screen to identify times and places.

Yet, it doesn't just feel as if we are in another movie by Tony Scott-everything feels very real. The danger is real. The characters are real. Many action films are about the action, special effects, and car chase sequences. "Spy Game" does contain those things, but they are in a focused, tight, evocative thriller. This movie is about the characters, not the action. It never forgets that.

"Spy Game" contains a complex structure. We begin in 1991. Veteran CIA officer Nathan Muir (Robert Redford) prepares for retirement. On his last day, he learns that his one-time protégé, Tom Bishop (Brad Pitt), has been captured in a foreign prison on a charge of espionage and will be executed in 24 hours. Fearing international crisis, the CIA decides it would be too risky to save him. But with a new generation in control of the agency, Nathan is no longer an insider. He must outsmart his own agency in order to save his old friend.

Most of the film plays out in flashbacks as the CIA digests valuable information from Muir. The movie spans from the Vietnam war to the end of the Cold War, with years ranging from 1965 to about 1991 (although the characters don't seem to age much). We learn Nathan chose Tom as a sharpshooter in Vietnam. He trained with Bishop. They formed a close bond, until something came between them-a woman.

The forty-year span in time poses no problem for "Spy Game." The engaging screenplay, by Michael Frost Beckner and David Arata, focuses on only the necessary characters. The soundtrack, by Harry Gregson-Williams, masterfully captures the various time periods, spicing the scenes with a slick sense of style and intrigue. The cinematography by Daniel Mindel makes the differences in location clear. Christian Wagner's editing gives the movie a frenzied, almost rushed emotion, that puts us right in the middle of the race against time.

Pitt and Redford retain their ground, despite a thick style. Redford creates a character out of nothing. We know little about him at the beginning, and we know little about him at the end. But he somehow gives his character a conscience, human values, and a lot of interest. We care about him because we do not like the black and white CIA operatives. Thus, we care about Pitt's character as well. Pitt gives his character an immature nature. He is in a stereotypical young hotshot role that might have fit him better a few years ago, but he still creates a grave sense of panic and fear.

With a structure like this, we expect subplots to evolve from the flashbacks. There is an intriguing terrorist story. A love story. Themes about betrayal, trust, position, friendship, commitment…but "Spy Game" never slows down and allows us to absorb these important details. By the end, we feel exhilarated, and we know we just watched a very smart, well-crafted film, but the most we can take from it is that it is a very smart, well-crafted film. I think, beneath all the style and surface, there is a little more to the movie than that.