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Vague Visages

Movies, tv & music • independent film criticism • soundtrack guides • forming the future • est. 2014, the art of the score: spike lee’s ‘inside man’.

Welcome to “The Art of the Score,” a monthly Vague Visages column about the best heist movies ever made. Be warned — there will be spoilers. The second film we’re casing is Spike Lee’s series of prizefight face-offs, Inside Man from 2006.  Dalton Russell (the laser-focused Clive Owen) has, in his own words, “planned the perfect bank robbery.” Why? The answer is simple: because he can. The “rub” (or the how) sees us dive into a Manhattan Bank owned by Arthur Case (the enigmatic powerhouse Christopher Plummer), whose shameful secret is hidden in an unregistered safe deposit box.  Russell and his crew occupy the tactical nightmare of a bank. Detective Keith Frazier (the crafty and perceptive veteran Denzel Washington) and his partner Detective Bill Mitchell (the perfect harmony to Washington, Chiwetel Ejiofor) work with Captain John Darius (Willem Dafoe) to negotiate the safe exchange of hostages by meeting the crew’s demands. While Det. Frazier starts to slip on deadlines to agitate action, he’s interrupted by a Mayoral order: let Madeline White (the intelligent and incisive power broker played by an arguable career-best Jodie Foster) enter the negotiation. Det. Frazier senses there’s a game afoot , and he’s not going to let these other tacticians dictate the fight.  The initial critical reception for Inside Man found positives in Lee embracing genre, elevating archetypes and finding a poetic rhythm to Russell Gerwitz’s screenplay. The critical titan Andrew Sarris relished Foster’s Madeline White, calling her the “fearlessly feline fixer striding on her high heels and her high horse into one supposedly perilous situation.”   Inside Man remains one of Lee’s highest-earning films to date, scoring a worldwide theatrical gross of $184 million.

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Blake Howard ( @OneBlakeMinute ) is a writer, Rotten Tomatoes-approved film critic and the Australian Podcast Award-nominated host and producer behind One Heat Minute.

Categories: 2000s , 2022 Film Essays , Crime , Drama , Featured , Film Essays , Mystery , The Art of the Score by Blake Howard

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Summary The perfect bank robbery quickly spirals into an unstable and deadly game of cat-and-mouse between a criminal mastermind (Clive Owen), a determined detective (Denzel Washington), and a power broker with a hidden agenda (Jodie Foster). As the minutes tick by and the situation becomes increasingly tense, one wrong move could mean disaster ... Read More

Directed By : Spike Lee

Written By : Russell Gewirtz

Where to Watch

Denzel Washington

Detective keith frazier.

Dalton Russell

Jodie Foster

Madeleine white.

Christopher Plummer

Arthur case.

Willem Dafoe

Captain john darius.

Chiwetel Ejiofor

Detective bill mitchell, carlos andrés gómez.

Kim Director

James Ransone

Bernie rachelle.

Peter Gerety

Captain coughlin, victor colicchio, sergeant collins, cassandra freeman, peter frechette, peter hammond, gerry vichi, herman gluck.

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Vikram walia, rafael osorio, rodney 'bear' jackson.

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Inside Man Review

24 Mar 2006

129 minutes

Spike Lee has come a long, long way in the last two decades. His 19 feature films encompass no-budget indies (She’s Gotta Have It), an epic biopic (Malcolm X) and even a musical (School Daze), and he remains one of ’s most audacious, ferociously independent filmmakers.

In these respects, the slick, commercial Inside Man is barely recognisable as a Spike Lee picture, but that’s not to say it doesn’t measure up; au contraire, it’s a marvellous, carefully honed thriller that hurtles smoothly along at the pace of a bullet train. If Do The Right Thing, with its jarring blocks of colour, was his Picasso, then this is his Da Vinci: carefully planned and crafted in sharp detail.

It’s also the safest film he’s ever made — a pure genre flick, deftly taking inspiration from great heist films. Like its protagonist, it almost never deviates from a well-laid plan; Lee has considered everything, and his first contingency is a staggeringly classy ensemble cast. Denzel Washington (in their fourth collaboration) makes a stock character — a charmer prone to rash mistakes — into a rich, believably flawed one. It’s as if Lee has requested the Washington of blockbusters past, and retrofitted him with nuances from their earlier work together. Chiwetel Ejiofor, meanwhile, offers fine support as his partner — watching he and Washington riffing together in a series of flashforwards, as they grill potential suspects, is a particular treat.

There are those who accuse Clive Owen of being one-note, but they’d have to admit it’s a bloody good one, and nobody could do it better. Once again he exhibits that trademark steely control, achieving an air of calculation and potential menace even when he’s behind dark glasses and a mask.

As for Jodie Foster, well, she’s having a field day as one of the best unscrupulous bitches we’ve seen on the big screen since Linda Fiorentino said yes to The Last Seduction. Foster’s Madeliene White is an interesting new take on the shady, backroom dealmaker. In the movies that inspire Inside Man, this character would be a shady lizard of a man operating from an ancient, smoke-filled office; Ms. White is a designer-outfitted Machiavellian machine with luxury office space who openly wheels, deals, wines and dines with the Mayor of New York City.

It’s a pity, then, that Russell Gewirtz’s script isn’t quite as smart as his characters or cast. Owen’s Russell forewarns us to pay attention (because he “chooses his words carefully, and only says things once” — a line which Lee unfortunately chooses to use twice),  but there’s not much that

will get past anyone who’s concentrating. At one point the whole game is nearly given away by a single shot. Thankfully, though, neither that nor a correct guess will spoil the fun, because Gerwitz at least ensures there’s some wonderfully original elements to the plan. In the tradition of

the genre, by the time Denzel has put the pieces together, you may find yourself struggling with muddy motivations and fresh doubts, but this just adds to the entertainment value — after all, you have to have something to talk about over a post-movie beverage...

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‘Inside Man’ Ending Explained: Did Clive Owen Commit a Victimless Crime?

Spike Lee's star-studded film finds a fascinating way to upend our expectations of a bank heist movie.

In the opening soliloquy of Spike Lee ’s Inside Man , Dalton Russell ( Clive Owen ) is sitting in a tiny cell of his own making, boasting about pulling off the perfect bank robbery. He hasn’t actually left the bank yet—the cell is built into a wall in the bank’s storage room—but he knows he will. Alone in the gloomy crawl space, he’s recording what amounts to a title card for the audience. Russell divulges the who, what, where, when, and why of the robbery. He insists that everything is right on track. It is.

Later in the film, even as the bank he’s robbing is surrounded by hordes of heavily armed NYPD officers, Russell tells anyone who asks how he’s going to escape from the bank. When Detective Keith Frazier ( Denzel Washington )—for whom he’s gained a begrudging respect—asks him, “Why don’t you just walk out that [front] door?” he responds, “I will. I’m going to walk out that door when I’m good and ready.” He means it. He’s thought of absolutely everything, so it’s not surprising when he does ultimately stroll out of the bank, a duffel bag full of blood diamonds slung casually over his shoulder. What is surprising is how few of the questions Russell actually answered in his opening monologue. By the time he escapes, the who, what, where, when, and why of the heist have all been busted wide open, leaving in their wake a slew of further questions for Detective Frazier and viewers alike.

RELATED: The 7 Essential Clive Owen Performances

The Who: The Players in 'Inside Man's Game

Detective Keith Frazier needs this job to go well. After failing to make detective first grade following (false) accusations that he stole thousands from a previous crime scene, he’s counting on this opportunity to prove to precinct brass that he deserves a promotion. With his superior out of the office, Frazier is called up to negotiate Russell’s arrest and the safe release of hostages.

Arthur Case ( Christopher Plummer ), the ultra-wealthy bank owner is deeply concerned by the break-in to his flagship location. It’s the first bank he ever opened, and he keeps his deepest vulnerabilities locked within its depths. Madeline White ( Jodie Foster ) is a high-powered fixer for New York’s elite who brokers in backroom handshakes and blackmail, White receives a call from Case about an especially sensitive (and lucrative) opportunity. Working around Frazier, her task is to ensure that the contents of safe deposit box 392 remain in the shadows.

The What: A Victimless Heist?

When they finally enter the bank post-robbery, Frazier and crew (including Chiwetel Ejiofor and Willem Dafoe !) are shocked to find no suspects (they left with the hostages), no victims (despite a staged hostage murder), no weapons (they were toys), and not a single item stolen from the bank. The vault is open, but all the loot remains in place. The police leave with nothing to go on, begging the question of what the robbers were doing there in the first place?

Shortly thereafter, Frazier finds his first clue—security deposit box 392. Bizarrely, the box isn’t accounted for in the bank’s ledgers dating all the way back to its establishment in the 1940s. Frazier figures that whatever the robbers broke in for, it probably has to do with that box, and that the box must belong to someone who’s been at the bank since its inception, leading him straight to Case.

Frazier and his deputy (Ejiofor) return to the bank to search the box, in which they find some Juicy Fruit (an inside joke with Russell), an enormous diamond ring, and an accompanying note from Russell with a simple instruction: “follow the ring.”

The Where and When: Open and Shut Case

The where and when are less about the robbery itself than the origin of Case’s diamonds. Having traded favors with the mayor and, she thinks, with Frazier (more on this in a moment), Madeline White is granted the special privilege of walking into the bank to negotiate with Russell. She offers Russell a reduced sentence and millions in hush money to ensure the contents of the box stay secret, an offer he turns down easily.

Russell’s knowledge is power—he already possesses a paper trail of Case’s dealings with Nazis. As Case later admits to White, it’s how he got rich. “It was sixty years ago,” he said. “I was young and ambitious. I saw a short path to success, and I took it. I sold my soul, and I’ve been trying to buy it back ever since.” The ring belonged to Case’s old friend—a Jew who was taken to a concentration camp—someone he could have helped but didn’t because “the Nazis paid too well.”

White gains half-hearted assurances from Russell that he won’t leak what he knows about Case. In exchange, he demands (and she accepts) that if he is to someday stand trial for robbing the bank, Case’s financial might would stand behind him. Unfortunately for White and Case, she overestimated her influence. Twice, actually.

White assumes she has Frazier in her pocket by promising to expunge his record of the accusations preventing his promotion. While the leverage gains her access to Russell, it can’t stop Frazier—who’s shrewd enough to record White’s corruption as a contingency—from researching the deposit box. This leads to White’s second miscalculation. No longer needing anything from Case or White after completing the robbery, Russell leaves the ring in the box for Frazier to find before he saunters out the bank’s front door.

The Why: Conscience and Cover-ups

For Case and White, the incentives for covering up the Nazi ties are clear. Case spent decades trying to cleanse his conscience, all the while gaining a vaunted status among the financial giants. Even before the advent of “cancel culture,” Case would likely have been ostracized for his fascistic origins.

Meanwhile, White is worried about her own reputation. As New York’s premier fixer, a loss of this magnitude stands to tarnish her status as the go-to problem-solver for troubled aristocrats.

Aside from the greed inherent in burglarizing diamonds, Russell’s motives are more righteous. Just after walking out of the bank, Russell’s teammate asks him why he left the ring behind, indicating that the initial plan wasn’t necessarily to unveil Case’s dirty laundry. The money, he says in his final voiceover, “[isn’t] worth much if you can’t face yourself in the mirror.”

The Final Scene: Denzel Washington Always Wins

With his Detective First-Grade certificate in hand, Frazier returns home to his modest apartment, where he finds his girlfriend’s brother drunk and passed out on his couch. He and his girlfriend ( Cassandra Freeman ) want to move to a bigger place and get engaged, but he’d been waiting for the promotion before making a move. As he reaches into his pockets to unload his belongings, he pulls out a diamond—perfectly sized for a gaudy engagement ring—that Russell slipped into his coat on his way out of the bank, capping off a romantic Robin Hood heist that, as Russell brags, was simply perfect.

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Inside Man review – 70s-set undercover-cop mob thriller is a karaoke GoodFellas

Emile Hirsch plays a violent cop who finds his way into the mafia in a film whose devotion to Martin Scorsese’s classic runs through every frame

T his 70s-set based-on-a-truish-story crime drama about an undercover cop embedded with mobsters was originally released in the US as The Gemini Lounge; for some reason it’s been retitled Inside Man for the UK, but on no account should it be confused with either the excellent Spike Lee-directed heist movie from 2006 or the recent Netflix show starring David Tennant. And while it merely borrows the title of better made movies, there’s something almost superfan-stalkerish about this film’s relationship to Martin Scorsese’s GoodFellas. It’s not a remake in any way and revolves around totally different characters and a different plot, but it somehow does a cheap karaoke version of GoodFellas’ rhythms, phrasing, look and general vibe.

This runs through every element here, from the setting among tertiary-level mafiosi driving huge gas-guzzling 1970s cars and running rackets, to its use of freeze frames and a voiceover by Emile Hirsch as the narrator-protagonist; Hirsch’s vocal timbre tracks so closely to Ray Liotta’s in GoodFellas that it seems only a harmonic or two away. The big difference, apart from the fact that director and supporting actor Danny A Abeckaser is no Scorsese, is that the film has been made on a speck of a budget and it all seems to unfold on two or three sets, and clearly there was no money for even a Bay City Rollers song, let alone a Rolling Stones number, on the soundtrack. Moreover, the dialogue has none of the musicality or swagger of GoodFellas or its flair for detail and wit.

Nevertheless, this isn’t an entirely unwatchable film. Hirsch, currently ubiquitous in low budget features these days, is on pretty good form as Bobby Belucci, an NYPD detective who gets busted down to a desk job after he attacks a man he stumbles on kissing his wife. With his career in tatters, Bobby goes one worse and beats up a guy in a public toilet – a crime that pays in the sense that it gives him an in with local drug dealer Chris (Jake Cannavale), who was himself in a fight with the beating victim. Recognising an opportunity to infiltrate the branch of the Gambino crime family to which Chris belongs, Bobby persuades his police chief (Bo Dietl) to give him support as he goes undercover and becomes part of their crew. Naturally, he gets in too deep and finds himself committing crimes as heinous as those he’s meant to stop.

Clearly enamoured with his cast, Abeckaser creates a showcase here for an assortment of fine character actors, all of them turning up their outer borough accents to max and enjoying themselves. Of necessity, it’s a very male-dominated story but Lucy Hale gets to make an impression as a bartender at the lounge everyone hangs out in who has a soft spot for Bobby. Still, in the end this feels a bit too much like a knockoff of a superior product, like something one of these guys would sell out of the boot of their car.

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• "Smartly plotted by newcomer Russell Gewirtz and smoothly directed by, of all people, Spike Lee, 'Inside Man' is a deft and satisfying entertainment"  Kenneth Turan : Los Angeles Times
• "Filled with playful noise and nonsense, clever feints and digressions, 'Inside Man' has a story to tell, but its most sustained pleasures come from its performances"  Manohla Dargis : The New York Times
• "[It] boils with humor, surprise and dramatic energy."  Joe Morgenstern : The Wall Street Journal
• "The screenplay by Russell Gewirtz needs a few more runs through rewrite. Because the film was directed by Spike Lee, it is not without interest (…) Rating: ★★½ (out of 4)"  Roger Ebert : rogerebert.com
• "The details of the plan are compelling (...) but what makes the film memorable is the salty, irreverent attitude of those forced to negotiate with these thugs."  Scott Tobias : AV Club
• "The suspense crackles, the acting sizzles and the script, by promising first-timer Russell Gewirtz, keeps tossing surprises like grenades (...) Rating: ★★★ (out of 4)"  Peter Travers : Rolling Stone
• "It's watchable and occasionally compelling, but it will not stand out as one of 2006's great motion pictures (...) Rating: ★★★ (out of 5)"  James Berardinelli : ReelViews
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• User reviews

• A police detective, a bank robber, and a high-power broker enter high-stakes negotiations after the criminal's brilliant heist spirals into a hostage situation.
• Composed and meticulous, the soft-spoken and ingenious bank robber, Dalton Russell, has orchestrated the perfect heist--shortly, the Manhattan bank at the corner of Wall Street and Broadway along with dozens of hostages will be his to command. Try as he might, the rough hostage negotiator, Keith Frazier, is always one step behind the criminal mastermind--and what is more disheartening--the institution's silver-haired founder, Arthur Case, recruits the intelligent problem-fixer, Madeline White, to retrieve something of paramount importance. However, the thieves seem to procrastinate intentionally, when they should be rushing into action. Will Arthur and Madeline get what they want this time? — Nick Riganas
• A gang holds up a bank, takes hostages and is trapped inside the bank by police. A police hostage negotiator arrives and takes charge but the gang don't seem to be following the usual playbook. Even more mysteriously, the chairman of the bank has hired his own negotiator. — grantss
• From a cell, a man tells us he has planned the perfect bank robbery; he invites us to watch. An efficient gang enters a Manhattan bank, locks the doors, and takes hostages. They work deliberately, without haste. Detective Frazier is assigned to negotiate, but half his mind is occupied with the corruption charges he is facing. The bank's president has something to protect in a safe deposit box, so he brings in Madeleine White, a high-power broker with a hidden agenda. With an army of police surrounding the bank, the thief, the cop, and the plutocrat's fixer enter high-stakes negotiations. Why are the robbers asking for a plane, if they are so competent and they know they won't get one? Why aren't they in more of a hurry? If the job's perfect, why is the thieves' leader in a cell? — <[email protected]>
• The film begins in medias res with Dalton Russell (Clive Owen) narrating his plight in the confines of an undisclosed cell, musing about the difference between a cell and a prison. Shortly afterwards, he begins in narration to describe the "perfect" plan for a bank robbery. The robbery begins in flashback as robbers, dressed as painters and utilizing aliases under variants of the name "Steve," enter a bank, disable the security cameras, and seize control. All customers and bank employees are herded into the basement, where they are forced to surrender their keys and cell phones and change into painter uniforms and face masks identical to the robbers'. The hostages are locked into several rooms; periodically the robbers rotate them and sometimes place themselves in among the hostages at various points. Meanwhile, the police surround the bank. Detectives Keith Frazier (Denzel Washington) and Bill Mitchell (Chiwetel Ejiofor) introduce themselves to Captain Darius (Willem Dafoe) and briefly discuss the situation. Russell demands that the police provide food, and they provide pizzas with electronic bugs in the boxes. They overhear conversations in a foreign language and eventually identify it as Albanian. They discover, however, that the conversations are in fact propaganda recordings of deceased Albanian communist leader Enver Hoxha, implying that the robbers knew or guessed at the attempted surveillance. After being informed of the robbery in progress, Arthur Case (Christopher Plummer), chairman of the board of directors and founder of the bank, hires "fixer" Madeleine White (Jodie Foster) to try to arrange for the contents of his safe deposit box at the bank to remain secret. White meets with the mayor, then manipulates Frazier to let her talk with Russell. Mentioning the special interests she wants to protect, she persuades Russell to let her enter the bank to talk. When White requests access to the safe deposit box, Russell shows her a document bearing a swastika symbol, suggesting that Case received money, enough to fund his bank, from the Nazis during World War II for unspecified services that resulted in Jewish deaths. Russell reveals his motivation, saying, "Fact is, all lies, all evil deeds, they stink. You can cover them up for a while, but they don't go away." After assuring Russell that Case will make him a very wealthy man if he destroys or covers up this document, White leaves. Attempting a bluff, Frazier informs Russell that the plane he demanded is ready but he needs to confirm that all the hostages are safe before permitting them to leave. Russell allows him to enter the bank, and escorts Frazier around the building. As they check the hostages, they discuss the situation, and also Frazier's desire to propose to his girlfriend, something which Russell suggests he should do regardless of finances. Upon exiting the bank, Frazier attempts to overpower Russell, but another robber comes to Russell's aid. Russell lets Frazier leave unharmed with seemingly no repercussion for his attack. Frazier tells his colleagues that he intentionally tried to provoke Russell, but as Russell failed to harm him, he believes Russell is not a killer. Soon after, the robbers call and direct the police to point their cameras to a specific second-floor window where a hostage is executed. An enraged Frazier confronts Russell again, demanding to know the robbers' true intentions. Russell simply replies that Frazier is, "too damn smart to be a cop". The execution incident prompts the ESU team into action, and they plan to raid the building, using rubber bullets to knock everyone out. Frazier, however, discovers that the drawer Russell sent out that contained the robbers written demands also hid a radio transmitter. He tries to order Captain Darius to cancel the impending attack, but Darius ignores him. Inside the bank, Russell overheard the conversation between Darius and Frazier and is alarmed that the police plan to move in. The robbers detonate smoke bombs throughout the bank and release the hostages, resulting in a horde of identically dressed people exiting through the smoke in mass confusion. The police detain and interrogate everyone. However, the police are unable to distinguish the robbers from among the hostages. The police search fails to turn up Russell, but reveals the hostage execution was faked and the robbers' weapons turn out to be plastic toy replicas. As nothing appears to have been stolen, Frazier's superior orders him to bury the case, commenting "What do you expect me to say?". Frazier, however, searches the bank's records and finds that safe deposit box #392 has never appeared on any records since the bank's founding in 1948. He obtains a search warrant to open it. He is then confronted by White, who informs him of Case's Nazi dealings. She attempts to persuade Frazier to drop his investigation, reminding him that she has held up her end of their deal (guaranteeing his promotion and returning money he was implicated in stealing prior to the events of the movie). He refuses, pointing out that he never agreed to such a deal, and plays back their earlier conversation from a secret audio recording pen, ensuring he is protected. White confronts Case about his Nazi connections, and he confesses everything to her. She correctly surmises that the safe deposit box must have contained diamonds and that these were the robbers' true objective; Case then specifies a Cartier diamond ring, belonging to a Jewish friend whom he betrayed to the Nazis in exchange for money. Case is remorseful over his past, and had since engaged in international philanthropy to try to assuage his guilt. Russell's opening monologue is then repeated, but with the revelation that Russell is in fact hiding behind a fake wall erected inside the bank's supply room, thus revealing him as the titular "Inside Man", for he has been inside the bank all along. He emerges a week after the incident, with the contents of Case's safe deposit box (including the documents and numerous small bags containing diamonds) in his backpack. As he exits the bank, he deliberately bumps into Detective Frazier, who does not recognize him. Russell's associates meet him in an SUV outside the bank. Asked about the missing ring, Russell assures them he has left it "in good hands." Frazier opens the safe deposit box and finds Russell's gum wrapper, along with the Cartier ring and a scrawled message: "Follow the ring." Frazier confronts Case, informing him of his intention to investigate the ring. He confronts White and the Mayor, telling her that the ring was linked to Case's sordid past. He offers White the pen with the recording and gives her a card for the Office of War Crimes Issues at the U.S. State Department to request they investigate the situation. After his final encounter with White, Frazier goes home and finds a loose multi-carat diamond in his pocket, realizing it must have been slipped to him by the man he bumped into in the bank, and that man must have been Russell. As the movie ends, it is implied that Frazier will use the diamond to propose to his girlfriend.

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Inside Man Reviews

In the end this feels a bit too much like a knockoff of a superior product, like something one of these guys would sell out of the boot of their car.

Full Review | Original Score: 2/5 | Nov 14, 2023

Despite being based on true events, one could just enjoy Abeckaser’s Inside Man for what it is: a thrilling and diverting low-budget crime thriller with a committed [Emile] Hirsch at the forefront of the operation.

Full Review | Original Score: 7/10 | Oct 17, 2023

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Here is one of the most inexplicable exposes ever filmed, wrapped in a package that sometimes is intriguing, sometimes so howlingly overacted that all we can do is watch in disbelief.

The movie is based on the story of Gunter Wallraff, an intrepid West German journalist who specializes in assuming a false identify and going underground to do the research for his stories. As "The Man Inside," he attempts to pull the ultimate inside job, by masquerading as another journalist, and getting a job on a right-wing paper he believes has illegal ties with the state security apparatus.

As an idea for a German movie, this has a lot going for it. The nation's press barons wield enormous clout, and it long has been suspected that they sometimes nudge the news in directions favorable to their political opinions. But is an American audience likely to be interested in the evils of German journalism, and the exploits of a journalist they've never heard of? Not likely, unless the movie itself is superior drama. And Bobby Roth's film of "The Man Inside" is so uneven - so ponderous at some moments, so contrived and even laughable at others - that after it's over I was quite simply puzzled: Why did he make this film in this way? The movie stars Jurgen Prochnow , one of the most effective new German stars, as Wallraff, a man who wakes up every day with new scores to settle. The reliable and always intelligent Peter Coyote plays a fellow journalist at the newspaper he's infiltrating, and Nathalie Baye is the woman who loves Wallraff. All of them do perfectly competent jobs in an incomprehensible script, although they not always are believable as print journalists (they apparently believe that any single sheet of paper with typing on it is capable of being waved around as if it represents any story, however complex).

Not so competent is Dieter Laser , as the paper's martinet editor, a sadistic obsessive who waves his cigarettes around and barks orders and seems to get some kind of kinky, erotic thrill out of the mere exercise of his job. Laser - or Roth's screenplay - undermines every one of the editor's scenes with some form of sabotage. He has ludicrous dialogue, arrives at inexplicable conclusions, barks nonsensical orders out of the blue, and functions as a master of the Idiot Plot, in which the movie could hardly proceed unless he failed to stumble over obvious clues.

Wallraff's actual investigation is an exercise in the theory of Macguffins (defined by Hitchcock, who said it doesn't make the slightest difference what one is, as long as everyone in the plot believe it is extremely important). Secret files are stolen from locked cabinets, papers and messages are passed, phone calls are made, and the hired goons of the press empire make midnight raids, break down doors, beat people up, and in other ways indicate that the files, papers, messages, calls, etc., are of supreme importance.

I left the movie having arrived at two conclusions: (1) that some right-wing press empires in Germany allegedly have access to state secrets and cooperate with the state intelligence and security agencies to conduct illegal surveillance of citizens, and (2) that if the conspirators are as idiotic and clownlike as their representatives in the movie, German citizens have few worries, and American movie audience none.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Inside Man 2006

Reviews provided by RottenTomatoes

Rene Rodriguez, Miami Herald : Unexpectedly funny, leisurely paced and oblivious to the demands of its genre, Inside Man has a loose, playful vibe that's at odds with its grave life-and-death scenario. Read more

Moira MacDonald, Seattle Times : Inside Man is a potboiler, but an intriguing one; perhaps Lee should go Hollywood more often. Read more

Michael Phillips, Chicago Tribune : This one's a Spike-for-hire affair, a case of a flashy director juicing up a first-time screenwriter's efforts. Read more

J. R. Jones, Chicago Reader : [A] wily thriller, which revitalizes a familiar premise by turning it inside out. Read more

Ruthe Stein, San Francisco Chronicle : Inside Man has an abundance of riches. Read more

Richard Roeper, Ebert & Roeper : It's very satisfying. Read more

Eleanor Ringel Gillespie, Atlanta Journal-Constitution : Nobody's on automatic here, least of all the director, who's probably delivered the most impersonal -- but smoothly Hollywood-style professional -- movie of his career. Read more

Scott Tobias, AV Club : With juicy supporting roles for Chiwetel Ejiofor and Willem Dafoe as Washington's fellow officers, the film works best when the characters are just sitting back and shooting the breeze. Read more

Randy Cordova, Arizona Republic : The film grabs you from the beginning and never lets go. Read more

Wesley Morris, Boston Globe : The basic story is elemental, but because Lee and Gewirtz invest it with grit, comedy, and a ton of New York ethnic personality, it's fresh anyway. Read more

Kenneth Turan, Los Angeles Times : Inside Man is a deft and satisfying entertainment, an elegant, expertly acted puzzler that is just off-base and out-of-the-ordinary enough to keep us consistently involved. Read more

Amy Biancolli, Houston Chronicle : Inside Man may be a genre flick, but its direction is certifiably Lee -- sprinkled with trademark themes and visual cues, including his specialty, the strapped-to-a-factory-belt dolly shot. Read more

Peter Rainer, Christian Science Monitor : Inside Man, which was scripted by Russell Gewirtz, is not a model of storytelling, even though it is somewhat redeemed by its fresh take and trick ending. Read more

Lisa Kennedy, Denver Post : At just over two hours, Inside Man earns every minute of our tense curiosity. Read more

Tom Long, Detroit News : Inside Man brings Lee back into the mainstream while still letting him have some fun, and he passes that fun on to the audience. Read more

Lisa Schwarzbaum, Entertainment Weekly : Inside Man is a hybrid of studio action pic and Spike Lee joint. Or else it's a cross between a 2006 Spike Lee joint and a 1970s-style movie indictment of urban unease. Read more

Terry Lawson, Detroit Free Press : Inside Man gives us back the stuff that once made Lee's movies entertaining: the snappy, sassy dialogue, the hip attitude, the obvious insight into the racial divide. Read more

Philip Wuntch, Dallas Morning News : Viewers may be surprised at the smoothness with which the frequently bombastic Spike Lee navigates the mainstream. Read more

Scott Foundas, L.A. Weekly : If Inside Man isn't the best movie Lee has done, it's probably the most purely exciting and enjoyable. Read more

Jan Stuart, Newsday : Lee seems less interested in scoring easy sociological points than ratcheting up the stakes of Gewirtz's cunning heist scenario, which offers little in the way of wiggle room for latecomers. Read more

David Ansen, Newsweek : As unexpected as some of its plot twists is the fact that this unapologetic genre movie was directed by Spike Lee, who has never sold himself as Mr. Entertainment. But here it is, a Spike Lee joint that's downright fun. Read more

David Edelstein, New York Magazine/Vulture : The normally subversive Spike Lee takes a rare genial tack. Read more

Lisa Rose, Newark Star-Ledger : Inside Man is the sort of movie that makes you think. The big star heist thriller is coiled in tricky turns of plot. Read more

Jami Bernard, New York Daily News : Lee takes the usual potshots at this stewpot of race, power and politics. Only here it's effective as part of the story, as opposed to when it's wielded like a tire iron in the context of a polemic. Read more

Andrew Sarris, New York Observer : I gloried in the sheer spectacle of Jodie Foster as Madeline White, an exquisitely groomed, fearlessly feline fixer striding on her high heels and her high horse into one supposedly perilous situation after another. Read more

Roger Moore, Orlando Sentinel : It's a leisurely stroll through the caper genre, with twists aplenty. Read more

James Berardinelli, ReelViews : Spike Lee's latest joint is a workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. Read more

Roger Ebert, Chicago Sun-Times : Here is a thriller that's curiously reluctant to get to the payoff, and when it does, we see why: We can't accept the motive and method of the bank robbery, we can't believe in one character and can't understand another. Read more

Stephanie Zacharek, Salon.com : With Inside Man -- an ostensibly straightforward, old-fashioned heist movie -- Spike Lee brings together the old New York and the new. Read more

Grady Hendrix, Slate : Inside Man is adult, contemporary, and completely relaxed. Read more

Colin Covert, Minneapolis Star Tribune : Inside Man marries some ingenious caper ideas to Lee's superb feel for ethnic politics. Read more

Rick Groen, Globe and Mail : Even past the midway point, it's all working -- it's taut, it's funny, it's trenchant, it's stylish. And then it isn't. Read more

Geoff Pevere, Toronto Star : Inside Man is an exercise in showy, cynical hollowness. Read more

Time Out : A slick, kinetic and relatively straightforward -- which is to say enjoyably twisty-turny -- tranche of cat-and-mouse procedural. Read more

Claudia Puig, USA Today : Exceptionally well written with clever twists and witty dialogue by first-time screenwriter Russell Gewirtz, Inside Man is adroitly executed by director Spike Lee. Read more

Todd McCarthy, Variety : A flashy cast, clever script and vibrant showcasing of New York City as the ultimate melting pot are strong plusses for Spike Lee's most mainstream studio venture. Read more

J. Hoberman, Village Voice : This enjoyable exercise in popcorn pyrotechnics demonstrates that Lee can be relied on to attack the cliches set before him with gusto. Read more

Stephen Hunter, Washington Post : A deft, tense, pure thriller, the movie has great star turns and is brilliantly directed, but it began as an extremely well-crated screenplay by Russell Gewirtz. Read more

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‘Inside’ Review: Tortured Artist, Meet Tortured Man

Willem Dafoe stars as an art thief who gets trapped in a penthouse in this drama.

• Share full article

By Amy Nicholson

The art thief (a brutish Willem Dafoe) trapped in a megamillionaire’s extravagant loft knows the value of the bronze wedge he’s damaging in a desperate attempt to pry open the door. It’s one of the few pieces he intended to steal from the smart home before its security pad failed and the exits locked shut. But Vasilis Katsoupis, the director of the stark survival thriller “Inside,” deliberately withholds that the makeshift crowbar is meant to be the Lynn Chadwick piece “Paper Hat,” last auctioned at 2.5 million pounds. Katsoupis prefers his moral challenge incalculable: Do we want the art to endure or the criminal?

Playing fair, the filmmaker also refuses to share details about the burglar. Blessedly, there are no flashbacks to the robber’s mother, no panic about a spouse or cat, and not much voice-over aside from a couple of lines establishing that the man once fancied himself an artist, too. I wouldn’t have known his name was Nemo if not for the end credits — good thing, as I’d have giggled when he made sashimi of the tropical fish.

The logic behind Nemo’s captivity doesn’t gel. (Alarm sirens screech with not one visit from the security desk? Who do they summon, Batman?) Katsoupis and the screenwriter Ben Hopkins aren't concerned with making a credible heist caper. Katsoupis is more of a snotty provocateur with the elegance to posture as deep. He sneers at the rich, stocking the stony apartment with futile luxuries that give it the feel of a pharaoh’s tomb. The fridge contains only caviar, truffle sauce and booze; worse, it blares the “Macarena” to remind users to shut the door. (There are just three musicians on the film’s soundtrack — John Cage, Radiohead, and those forbidden dancers Los Del Rio — the cinematic equivalent of a challenge on “Chopped.”) At the same time, the fritzing control system cuts the water and cranks the heat to 106 degrees. So-called smart tech — the practical opposite of fine art — is the closest thing to a villain. This computer isn’t self-aware like Hal 9000. Still, Stanley Kubrick would say he warned us not to hand our house keys to Siri.

The contemporary art curator Leonardo Bigazzi shrewdly selected the work that lines the walls. A photo of a duct-taped man mocks the prisoner’s plight. Overpriced neon tubes are there so we can look forward to seeing them smashed. Our knee-jerk guesstimations of worth are continually pranked. Take when a starving Nemo finds a few oranges. They’re moldy. (Worthless.) Wait, they’re concrete sculptures. ( Insultingly worthless!) Nemo hurls the concrete at the windows. (Oh! Maybe they’re useful after all?) A hungry man can’t care that the oranges’ sculptor, Alvaro Urbano , intended to comment on cultural rot during the Franco dictatorship.

So it’s disruptive, and then cathartic, to watch Dafoe’s primal performance dominate this museum/mausoleum and force us to side with humanity. He’s perfectly cast in a part that calls for quietly whirring intelligence. Plus, he’s the rare movie star with the kind of brutal bone structure that would have inspired the Expressionist painter Egon Schiele — who has several pieces here — to grab his paintbrush. (The unpleasant close-up of Nemo’s bowel movements in the bathtub, however, only works as a nod to Andres Serrano.)

The film abandons its tempo somewhere after the eighth sunset, when the days begin to blend together and Katsoupis slathers on unnecessary hallucinations. When boredom sets in, we’re offered the silence to contemplate our own definition of art as Nemo the criminal evolves into Nemo the creator. His towering escape contraptions are tools. His haunting wall doodles are therapy. They’re both awarded as much reverence as everything with a price tag.

Inside Rated R for nude and crude imagery. Running time: 1 hour 45 minutes. In theaters.

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Inside Man Review: A Misstep in Crime Drama

Director Danny A. Abeckaser’s Inside Man promised an intriguing blend of undercover cop drama and the gritty world of organized crime. The film had the potential to deliver a gripping story of redemption, betrayal, and moral ambiguity. However, despite its promising premise, Inside Man ultimately falls short in execution, leaving audiences with a muddled narrative, inconsistent character development, and a lack of emotional resonance.

The film opens with a gripping scene of chaos as a nuclear meltdown unfolds, leading to the demotion of detective Bobby Belucci, played by Emile Hirsch . The premise holds immediate promise – a troubled protagonist, a chance at redemption, and the lure of going undercover to take down a notorious mob killer. Unfortunately, the potential of this setup is squandered by a disjointed and convoluted script that struggles to maintain focus.

Emile Hirsch’s portrayal of Bobby Belucci is a mixed bag. On one hand, Hirsch effectively conveys the internal turmoil of a detective haunted by past mistakes and eager for a shot at redemption. However, the film’s lack of coherent character development leaves Belucci’s motivations and choices feeling inconsistent. Hirsch’s performance is undermined by a script that fails to delve deep into his character’s psyche, leaving the audience disconnected from his journey. As a result, the emotional stakes of Belucci’s transformation are blunted, and his descent into the criminal world lacks the impact it should have had.

Greg Finley ‘s performance as the mob’s ruthless killer, Anthony Senter, is one of the film’s highlights. Finley brings a chilling intensity to his role, portraying Senter as a charismatic yet sinister figure capable of manipulating those around him. Senter’s cat-and-mouse interactions with Belucci initially promise a riveting dynamic, but this potential is largely squandered by a lack of meaningful interaction between the two characters. Their psychological game of wits could have been the film’s driving force, but it becomes lost amidst the clutter of subplots and underdeveloped characters.

Lucy Hale ‘s Gina, a love interest and potential source of conflict for Belucci, is unfortunately relegated to a one-dimensional role. Her character’s interactions with Belucci lack depth, and her motivations are unclear, resulting in a romance that feels forced and inconsequential to the overall narrative. Hale’s acting skills are underutilized, and her character ultimately becomes a missed opportunity for meaningful engagement.

A major stumbling block in Inside Man is its lack of narrative cohesion. The film meanders through various subplots, including political intrigue, personal vendettas, and power struggles within the mob. While each of these elements could have contributed to a complex and layered narrative, they instead detract from the film’s central premise. The audience is left struggling to piece together the different threads, resulting in a viewing experience that feels disjointed and unsatisfying.

Another issue is the film’s pacing. At times, Inside Man drags its feet, spending too much time on inconsequential scenes while rushing through potentially impactful moments. The lack of a consistent rhythm prevents the narrative tension from building effectively, and important character developments are glossed over in favor of quick resolutions. This uneven pacing hampers the film’s ability to draw the audience into its world and invest in the characters’ journeys.

The film’s cinematography captures the gritty atmosphere of the criminal underworld, with dark and moody visuals that suit the tone. However, the direction often lacks subtlety, relying on heavy-handed visual cues to convey emotions and plot points. This detracts from the film’s ability to engage viewers on a deeper level, as it leaves little room for interpretation and nuance.

Inside Man falls short of its potential as a compelling crime drama. Despite a promising premise and a talented cast, the film’s disjointed narrative, underdeveloped characters, and uneven pacing prevent it from reaching the heights it could have achieved. While Emile Hirsch and Greg Finley deliver solid performances, they are ultimately let down by a script that fails to explore their characters’ depths. Lucy Hale’s character remains underutilized, and the lack of meaningful interactions between key characters diminishes the emotional impact of their conflicts. Ultimately, Inside Man struggles to find its footing in the crowded landscape of crime dramas, leaving audiences with a forgettable and unsatisfying viewing experience.

• Acting - 7/10 7/10
• Cinematography/Visual Effects - 6/10 6/10
• Plot/Screenplay - 5/10 5/10
• Setting/Theme - 5/10 5/10
• Watchability - 5/10 5/10
• Rewatchability - 3/10 3/10

User Review

About Caillou Pettis

Caillou Pettis is a professional film critic and journalist as well as the author of While You Sleep, The Inspiring World of Horror: The Movies That Influenced Generations, and co-author of Out of Time: True Paranormal Encounters. He has been writing in the entertainment industry for over seven and a half years professionally. Throughout the years, he has written articles for publications including Gold Derby, Exclaim!, CBR, Awards Radar, Awards Watch, Flickering Myth, BRWC, Starburst Magazine, Punch Drunk Critics, Mediaversity Reviews, Vinyl Chapters, Northern Transmissions, and Beats Per Minute.

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Civil War 2024: A Road Trip Through a Fractured America

An American death row prisoner with a sideline in solving mysteries helps a young British journalist search for a friend who's suddenly disappeared.

1. Episode 1

Investigative journalist Beth meets a new friend and interviews a prickly prisoner. A misunderstanding puts the local vicar in a precarious position.

2. Episode 2

Beth agrees to observe one of Grieff's investigations. Mary has a chat with Janice. Harry's attempts to secure a confession from Edgar backfire.

3. Episode 3

Grieff gets alarming news and connects Beth with an associate in the UK. The police — and Ben — have some questions about what Harry's been up to.

4. Episode 4

Mary and Harry have a spat over their guest in the cellar. With the clock ticking and Grieff pulling invisible strings, Beth searches for Janice.

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