The Thomas Crown Affair
1999 Directed by John McTiernan
Synopsis
Crime does pay. Handsomely.
A titular billionaire, for kicks, would rather steal works of art than buy them. Charged with investigating his crimes, sleuth Catherine instead falls under his spell. Despite the warnings of detective Michael, Catherine moves closer to Thomas and finds herself facing a moral quandary.
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The first 20 minutes are jaw-droppingly beautiful, cutting between innocuous business dealings and the careful execution of an art heist that makes the crowded realms of executive rooms seem more chaotic, making Thomas Crown seem caged-in until he takes his rightful place in the scene of a challenge. The breezy, jazzy tone carries through Crown's subsequent pas de deux with the insurance investigator who presents him with "a worthy adversary." The final stretch's melancholic slow-down feels a bit too much like premature petering out (at least until the rousing final setpiece), but even the slower bits have a warm grace to them. It's a work of great delicacy, not as complex as McTiernan works like Predator or his Die Hards, but so perfect in its lightness that hardly seems a quibble.
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A childhood favorite that I have an increased appreciation for. Seen it more times then I can count and yet every time I watch it I get swept up in the breathless affair.
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I don't know what it is about this movie, but every time I watch it (which happens all too frequently) I just get stupid, giddy happy.
Also, one day I'll be able to afford to get all my clothes custom tailored, right?
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Essentially a bourgeois romance disguised as a heist movie, a police procedural, and an upper-class cat and mouse game. This is nifty because we get many of the best elements of each in one entertaining package. Pierce Brosnan plays the titular Thomas Crown, a stinkin' rich business man with a thing for stealing great art - for fun, apparently. Rene Russo is the insurance agent after the $100,000,000 Monet he just fleeced from the Met. The story is quite an interesting one, since, much to the police's chagrin, Russo admits to Brosnan immediately that he is a suspect and begins a relationship with him in search of info about the painting. With the cards on the table from the beginning,…
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Even though I haven't seen the original 68 film, this seems like a worthy remake with a role that was perfectly cast for Pierce Brosnan. Brosnan has got to be one of the suavest actors still going, he just exudes confidence and charming arrogance, something that he displays here superbly. The plot is great, throwing in some unexpected surprises as well as a solid performance from the good cop/bad cop partners. There was actually some great scenery as well, particularly the exciting scenes on the yacht and light plane. The Bowler hat scene was also great, just one of a few genuine thrilling moments in the film.
The main problem I had was the miscasting of Rene Russo as the…
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Not the Steve McQueen original but the John Mctiernan directed remake from 1999.
Is it as good? Is it fuck.
However,it is very entertaining. Nice touch with Faye Dunaway in a cameo and Rene Russo getting her raspberry ripples out. Brosnan takes great pleasure in playing the rich boy philanthropist but he isn't STEVE FUCKING MCQUEEN.
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A childhood favorite that I have an increased appreciation for. Seen it more times then I can count and yet every time I watch it I get swept up in the breathless affair.
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a game of cat-and-mouse for rich boys only
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La película que metió a McTiernan entre rejas
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Charming but kind of weak. Havent seen the original so I can't compare the two but this version relies too heavily on Brosnan's raw charm.
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I don't know what it is about this movie, but every time I watch it (which happens all too frequently) I just get stupid, giddy happy.
Also, one day I'll be able to afford to get all my clothes custom tailored, right?
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The first 20 minutes are jaw-droppingly beautiful, cutting between innocuous business dealings and the careful execution of an art heist that makes the crowded realms of executive rooms seem more chaotic, making Thomas Crown seem caged-in until he takes his rightful place in the scene of a challenge. The breezy, jazzy tone carries through Crown's subsequent pas de deux with the insurance investigator who presents him with "a worthy adversary." The final stretch's melancholic slow-down feels a bit too much like premature petering out (at least until the rousing final setpiece), but even the slower bits have a warm grace to them. It's a work of great delicacy, not as complex as McTiernan works like Predator or his Die Hards, but so perfect in its lightness that hardly seems a quibble.
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Easy, breezy and just plain fun to watch. It's pretty people doing less than upstanding things with priceless artwork. A snappy score and crisp direction courtesy of that old dirty windbag John McTiernan makes the TCR one of those movies that you catch on TV and can't put down. It is also, and I'm sure I'll be shamed by the Steve McQueen junkies, a necessary entry in the conversation about remakes that best the original.
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Essentially a bourgeois romance disguised as a heist movie, a police procedural, and an upper-class cat and mouse game. This is nifty because we get many of the best elements of each in one entertaining package. Pierce Brosnan plays the titular Thomas Crown, a stinkin' rich business man with a thing for stealing great art - for fun, apparently. Rene Russo is the insurance agent after the $100,000,000 Monet he just fleeced from the Met. The story is quite an interesting one, since, much to the police's chagrin, Russo admits to Brosnan immediately that he is a suspect and begins a relationship with him in search of info about the painting. With the cards on the table from the beginning,…
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Rene Russo steals it. An highly entertaining yarn. Slick...