Director:
Spike LeeGuión:
Russell GewirtzCámara:
Matthew LibatiqueMúsica:
Terence BlanchardReparto:
Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor, Kim Director, James Ransone, Peter Gerety, Daryl Mitchell (más)Streaming (4)
Sinopsis(1)
Todo empieza de la forma más simple: cuatro personas vestidas con monos de pintores entran en el concurrido vestíbulo de la sucursal de Wall Street del conocido banco Manhattan Trust. En cuestión de segundos, los cuatro falsos pintores, basándose en un plan estudiado al milímetro, controlan la sucursal, y toman como rehenes a cincuenta personas entre clientes y personal. Dos negociadores especializados en toma de rehenes pertenecientes a la policía de Nueva York, los detectives Keith Frazier (Denzel Washington) y Bill Mitchell (Chiwetel Ejiofor) reciben la orden de entablar negociaciones con el líder de los atracadores, Dalton Russell (Clive Owen), y conseguir la liberación de los rehenes. La Unidad de Servicios de Emergencia (ESU) representada por el capitán John Darius (Willem Dafoe) les presta su apoyo y todos están convencidos de poder resolver la situación con relativa rapidez y recuperar el control del banco. (Universal Pictures España)
(más)Videos (1)
Reseñas (10)
Después de verla por segunda vista, subo a 5*. Plan Oculto es una película tan elegante como el elegante traje de Denzel, en el que pasa por las escenas finales. Es una película divertida, consciente e inteligente sobre un atraco al banco, que no necesita contener violencia (y a violadores) para tener cojones, y que, por el contrario, critica acertadamente la violencia (un paralelo con el juego de acción en la pantalla PSP del niño afroamericano). Los actores se lo pasan muy bien, Spike Lee y Brian Grazer (que mantuvo el presupuesto en unos increíbles 45 millones de dólares) son los campeones y la canción final «Chaiyya Chaiyya Bollywood Joint» es una sintonía perfecta de las emociones de la película.
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Luckily Spike Lee hasn’t drowned in commercial waters and managed to film a very pleasant and intelligent picture that he worked some moments from his previous works into. The screenplay starts off with an excellent idea, which makes it all the more surprising that in the end it is the screenplay that is the weakest aspect of this movie, because it isn’t enough for over two hours of running time. Luckily this isn’t completely obvious when you are watching, thanks to Spike, the absolutely perfect casting and a very successful balancing on a knife’s edge between thriller and comedy. Overall, very good, but for me The Negotiator remains the “king" of this type of movie.
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Spike Lee is a genius! A genre film thought out to the last detail, shot with clarity (Matthew Libatique's amazing cinematography, editing, the scene composition) and insight (wit, great allusions to the atmosphere of New York 5 years after 9/11). Thanks to the artfully inserted details, cuts, and masterful work with fabrication, the film is above all known standards. For the majority of the viewing public, it is an overly verbose and desperately inactive affair, but for those who can read between the lines of this most distinctive African-American in Hollywood's director's chair, they will understand that there is no robbery like a robbery and the sins of youth are not forgotten even after sixty years. Thanks, Spike!
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Overcomplicated and yet unfinished. Spike Lee's storytelling style just doesn't sit well with me. After The 25th Hour, he once again failed to capture my attention in the first half, only to deliver an almost beautiful ending. This was mainly aided by the brilliant Clive Owen, and yet despite its omniscience and supposed lightness, this piece failed in a most striking way.
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The perfect heist? Yeah, right! Rather, in terms of logic, a perfectly haphazard xth variation on the bank robbery. Logically leaky both in the point of the action of the robbers, however spectacular, and in the actions of the bank boss (who was he saving the compromising materials for?). The fact that Spike Lee once again stood his ground is a poor excuse. I was pleased with his subtle political allusions, although they were not nearly as strong as Norton's confession in 25th Hour, I was pleased with his sense of black humour, and although the film moves along briskly and doesn't get boring, I definitely expected more from a filmmaker with such a big name than just a wannabe spectacular and contrived story.
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