enjoy the cool, smooth ride.

Rating: 7/10 (24 March 2006)

"Inside Man" stars Denzel Washington, Clive Owen, and Jodie Foster  all bringing their A-games and mustering up all the movie star fire power they can. They are joined in able support by Chiwetel Ejiofor and Christopher Plummer, consecutively one of my favorite young actors and one of my favorite old-schoolers. Director Spike Lee has ventured outside of his familiar and crafted a very interesting and entertaining bank heist/perfect crime caper. But there's a lot more going on here than the meets the eye. With a deft screenplay by newcomer Russell Gewirtz, Lee delivers a crackerjack action drama that also serves as a gentle treatise on how we treat each other in this country. As a plus, Spike sells this message subtly this time out and not in the usual ham-fisted style that he has employed in the past.
The film begins with a tight medium full on the mug of Owen, explaining that he is Dalton Russell and hinting that things are not always as they seem. This monologue segues into a sight of four people dressed as painters entering the lobby of Manhattan Trust, a Wall Street branch of a worldwide financial institution. (Think Citibank/Citigroup with charitable do-gooder Chairman Plummer as a Sanford Weill wannabe.) The robbery is underway, hostages are taken and the crime becomes a highly scrutinized red-ball media event that drags on for the better part of a day. The bank robbers seem to stay one step ahead of the police department at every turn, but what exactly is going on here? Washington plays NYPD hostage negotiator Detective Keith Frazier. He heads the operation to make contact with ringleader Russell and insure the safety of the hostages. Frazier is newly promoted and somewhat immersed in a corruption scandal. He sees the siege as an opportunity to prove his worth, make the grade and clear his name all at the same time. Two-time Oscar winner Washington gives yet another unimpeachable portrayal that does not disappoint. (Has this man ever given a poor performance?) His Frazier is charming, stalwart and quite droll. His presentation of this man in above his head is never stronger than when he has absolutely no idea what to expect next. Washington can always cut the dashing figure, but his best work occurs when he is brought low and his characters are forced to rely on something besides their physicality and allure. As expected, he serves as the principled center to this labyrinthine tale of greed, morals and corruption. Washington's work here continues his celebrated successful collaborative relationship with Lee.
Casting Clive Owen as Washington's adversary was a sharp and necessary move. It takes an actor of serious fortitude, appeal and strong sense of self to stand toe to toe with Washington and not crumble in Denzel's wake. As the mastermind behind the break-in, the winning Brit more than holds his own in scenes with Washington and Foster, who plays mysterious power broker Madeline White. There is an intelligence and determination behind those icy blue eyes of steel. He's an enigma, a genius criminal literally sitting on top of a pile of money that's his for the taking, but with no clear exit strategy. It is a masterful confluence of direction, writing and acting and the audience is rewarded with a modern deluxe throwback to the golden era of Sidney Lumet movies. You get the sense that everyone involved couldn't wait to show up for work, tell this story and create these scenes together.
, Jodie Foster makes another appearance as a supporting character. She is quite compelling as White, a Machiavellian fixer with seemingly no humanity inside herself whatsoever. As she clomps around Manhattan in designer shoes that seem entirely too high and uncomfortable for her (), she exudes authority and avarice. And it's a delightful irony as she is decidedly so much physically smaller than all the big studs around her. There are a couple of chilling scenes with Plummer where's she appears to have ice in her veins. She's not alone though, every character has their own secrets and agenda and it's simply a matter of waiting to see what happens when irresistible forces collide with immovable objects.
Spike applies his singular vision throughout the film and never at the sake of his audience's enjoyment. He says what he wants to say about race, religion, money, history and morality in this country, but this time without the screaming. There is the expected marvelous camera-work and clever imagery which as always in the case of a Spike Lee Joint, is accompanied by the plaintive wails of a standard yet sublime score by Terence Blanchard. There is a scene where Washington and Ejiofor turn a corner in a hallway and advance upon the camera at a brisk walking pace. Lee photographs these stunning examples of Beautiful Black Men so lovingly and at such an angle it gives one pause and truly takes the breath away. And Lee knows how to film New York City in such a way that the metropolis itself actually becomes a character in the film.
It is by no means a perfect film but it is highly entertaining and worthwhile. The narrative still does come across a bit murky in the third act and there are some lags in action, but these are minor complaints. Go see "Inside Man" for the performances, the script, and the opportunity to see a seasoned vanguard director stretch his wings within an entirely different form. Welcome to the mainstream Spike