TNMC
This site’s design is only visible in a graphical browser that supports web standards, but its content is accessible to any browser or Internet device.
Phone Booth (2003)
This is a movie that seemed destined never to reach theaters. The recent sniper shootings in Maryland, DC and Virginia gave Fox cold feet and they delayed releasing the film by six months. Before that, countless directors and stars attached themselves to it only to leap away when the reality of making the movie became clear. It's hard to imagine something less cinematic than setting an entire movie inside a phone booth. It would seem to prevent the movie from moving and thus from having life and energy. Well it turns out that it can be done and done well and surprise surprise, movie geek punching bag Joel Schumacher is the man to get it done. There's a very easy way to determine if a Schumacher directed film is worth your time. Find out what scale he was working on. Give him a small budget and he hands you gems like Tigerland and this very Phone Booth. Give him a big budget and you get Batman and Robin or 8MM.
The film opens with a brief introduction to phone usage in the New York City area. We then start to follow PR man Stu Shepard. He talks a mile a minute and has an intern who follows him about juggling multiple cell phones for Stu to ply his trade through. Oddly, he heads for the last standing phone booth in the city. He uses it to call an attractive young actress he is tentatively considering an affair with. The phone booth allows him to make the call without leaving a record on the phone bill that his wife could find. He finishes the call and starts to leave but the phone rings and following instinct, Stu answers it. Big mistake. On the other end is a man with a high powered rifle, laser scope and a lesson to teach Stu.
He taunts, insults and threatens Stu, shattering his veneer of confidence in no time. The caller won't let Stu leave and his lengthy stay in the booth eventually draws the ire of a local pimp. He's ready to beat Stu senseless until the caller kills him with a shot. Chaos ensues and poor Stu is stuck in the booth with angry police all around and he's not allowed to explain anything to them. The caller has thought this all out in advance and stacked the deck so heavily in his favor that he can endlessly berate and humiliate Stu, who seems doomed.
Sure, the film has plot holes, but it covers them nicely by barrelling forth at a pace that leaves the viewer little time to consider problems. Beyond the pace and sharp editing, it is the three major characters that make the movie work. Colin Farrell continues his way to stardom with a film that has him on screen approximately 98% of the movie. He does a fine job, showing the full range needed for the tortured Stu. Forest Whitaker plays the police captain who begins to suspect that all is not as it seems. While certainly not the most demanding of roles for the versatile Whitaker, he brings a solid calmness to the film that is needed to balance the test of wills going on. Kiefer Sutherland plays the caller and is really only a voice for the great majority of the film. Luckily he has a great voice and gives the caller considerable menace without showing a face. His sadistic laugh becomes almost a weapon eventually. The quality of the show 24 has a lot to do with his considerable presence.
This is a great little film (little as in only 80 minutes long) that seems out of place appearing so early in the year. It could hold its own in the heat of summer or the heavyweight award season at year's end. It's great at ratcheting up the tension and holding your attention riveted. What more do you need from a thriller?
What do you think? Talk about it on the Forums
