Some okay thrills with good performances and some smarts. But the last reel plunge spoils things.
Vantage Point (2008)
Tomatometer
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Reviews Counted:151
Fresh:53
Rotten:98
Average Rating:5/10
Consensus: Vantage Point has an interesting premise that is completely undermined by fractured storytelling and wooden performances.
Rated: 12A [See Full Rating] for sequences of intense violence and action, some disturbing images and brief strong language.
Runtime: 90 mins
Genre: Action/Adventure
Theatrical Release:07-03-2008
Synopsis: A presidential assassination attempt is told from multiple points of view in Pete Travis's directorial debut, VANTAGE POINT. U.S. president Ashton (William Hurt) is in Salamanca, Spain (though much... A presidential assassination attempt is told from multiple points of view in Pete Travis's directorial debut, VANTAGE POINT. U.S. president Ashton (William Hurt) is in Salamanca, Spain (though much of the film was actually shot in Mexico), to announce plans for a major global summit on terrorism. But as he stands behind the podium in front of an adoring crowd (with protesters blocked off from the stage), he is shot twice, followed shortly by a small explosion and then a massive blast. Secret Service Agents Barnes (Dennis Quaid), Taylor (Matthew Fox), and Holden (Richard T. Jones) immediately jump into action, trying to find the terrorists responsible amid all the chaos. The thriller first shows the events through the eyes of television news producer Rex Brooks (Sigourney Weaver), and then the film rewinds, replaying the action from a different point of view. Each perspective reveals a few more clues, then rewinds again, taking the audience through the assassination attempt and its aftermath again. VANTAGE POINT has the feel of the 1950 Akira Kurosawa classic RASHOMON, told with the speed of the television show 24. The all-star cast also includes Forest Whitaker, who gives another fine performance, playing an American tourist recording everything on his video camera. The rewind device--reminiscent of the Bill Murray comedy GROUNDHOG DAY--could have been gimmicky, but instead Travis and first-time screenwriter Barry L. Levy make it work, as more details are revealed with each flashback, leading to a pulse-pounding chase and surprising finale. [More]
Starring: Dennis Quaid, Matthew Fox, Forest Whitaker, Sigourney Weaver
Starring: Dennis Quaid, Matthew Fox, Forest Whitaker, Sigourney Weaver, William Hurt, Zoe Saldana
Director: Pete Travis
Director: Pete Travis
Screenwriter: Barry L. Levy
Producer: Neal H. Moritz
Composer: Atli Orvarsson
Studio: Sony Pictures Entertainment
Reviews for Vantage Point
The stories are cleverly interwoven, with a couple of unexpected twists, and the patient viewer is rewarded with a doozy of a car chase in the last reel.
It charms - despite hitting the odd seam of schmaltz - and teenagers will find much to tempt them away from their X-Boxes and PSPs.
As much as we'd like to see an American president made accountable, we don't have to see it over and over and over again.
As daft as it all becomes, Vantage Point is never dull. Approach it like a double-bill of 24 and there’s enough excitement to overcome the clichés, particularly during the climactic car chase.
There's an interesting idea here, showing a major political event from various perspectives until we finally get to the real story. The problem is that the real story is rather contrived.
Watchably silly at best, it's the political thriller as an unintentional comedy of errors - 24 meets Noises Off.
Although mounted with no little efficiency by director Pete Travis (who previously made the TV drama-doc ‘Omagh’), the narrative enterprise actually hides a one-dimensional world view, with civilian casualties mere background set dressing.
Vantage Point might sound intriguing on paper but it's all gimmick and not a lot of substance.
Hey, it’s February, a month when moviegoers have to be thankful for anything diverting.
A nice, straightforward, good old-fashioned geopolitical conspiracy thriller with no pretentions.
Barry Levy's script slavers for comparisons to Rashomon but misses the point. Akira Kurosawa argued that truth was slippery; Levy believes there's one answer, he just likes withholding it.
The fact that the screenplay refrains from smug political commentary and instead focuses on action and mystery enhances the experience.
One of those flicks that relies purely on momentum to keep your disbelief suspended, and director Pete Travis rarely allows the pace to slow enough for the plot holes to shine through.
This is satisfying Friday night popcorn fare - slick and noisy and utterly disposable.
What Travis has done is nothing short of create a new kind of American action film that feels European in the same way that William Friedkin's "French Connection" did.
Not much about the plot can be revealed without giving away the various surprises and twists [which]are the only reason to sit through the film.
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