I don't know what the problem is. I had heard that this is an incomprehensible film. That when it ends we don't know what exactly happened. I thought that throughout the film we were in the loop, and even if we have an unreliable narrator, I suspected that from the start. Anyway, it's been a long time since I've been taken for such a joyride with such interesting characters, even if they are murderers and felons. The plot is woven so delicately and the threat is so interesting, that I was involved from the first minute. I always wondered how Kevin Spacey, a rather ordinary looking guy with a receding hairline, got to be so well known. Obviously, this is the reason. His performance is right on and he dominates the screen, even though he is a "gimp." There are so many layers in this film, but I don't think the screenwriter ever plays unfairly with it and it is quite satisfying.
1,530 Reviews
" The Greatest Trick The Devil Ever Pulled"
thinker169112 July 2007
Out of the mind of Christorpher McQurrie comes this incredible story of a man in search of the devil. The film is called " The Usual Suspects" and what could be more appropriate than an unusual movie about five suspects who are anything but usual. The story originates with the only survivor of what the police conclude was a murderous and explosive drug deal gone bad. His name is Roger Kint (Kevin Spacey is perfect) also known as 'Verbal.' From the mouth of this innocent storytelling, con-artist comes the fantastic tale of how he and his fellow criminals, Stephen Baldwin, is Michael McManus, Benicio Del Toro is Fred Fenster and Kevin Pollak as Todd Hockney were originally assembled and then set-up. Beginning with a mix-up by law enforcement to put several guilty men together in the same line up, the tale proceeds cross country and culminates with a powerful, but mysterious kingpin by the name of Keyser Soze. It's through his attorney, Kobayashi (Pete Postlethwaite), the men learn they are marked for death unless they undertake a dangerous assignment. The center piece of the Unusual group is their leader, a remarkable individual named Dean Keaton (Gabriel Byrne, incredible performance). What transpires in this movie from moment to moment is a lesson in sleigh of hand. What we and the police Dave Kujan, (Chazz Palminteri) are told is not what we see. Conversely, what we see is not what we have been told. In the end, this film with it's haunting theme by John Ottman, is nothing short of incredible. A superb classic in both mystery and action entertainment, by Bryan Singer. A great film indeed. ****
One of the best endings I've seen
danielmanson16 April 2022
Chances are you've probably already seen this movie, but I just thought I'd quickly whack down any after movie thoughts I had.
I really enjoyed watching this and I can fully see why it's been branded as a "masterpiece" and an absolute classic. Had fantastic dialogue, great acting, but most importantly the plot is so unique and the final twists and turns are brilliant. Modern day films just don't have this kind of uniqueness anymore sadly and this is why I have been watching older films as of late.
My only criticism is that I thought the first half an hour was really slow. The movie had no real direction and I was genuinely pretty bored. However, once it kicks into gear I was sat on the edge of my seat. I mentioned in the title the ending, this genuinely has to be one of the best endings to a movie I've ever seen. The twists and turns in the final 15 mins or so was amazing! I was gobsmacked. And very few films have ever managed to pull that off.
I don't have much else to really say other than it's a great movie and deserves the credit it's had over the last 22 years or so! Must watch if you haven't already.
I really enjoyed watching this and I can fully see why it's been branded as a "masterpiece" and an absolute classic. Had fantastic dialogue, great acting, but most importantly the plot is so unique and the final twists and turns are brilliant. Modern day films just don't have this kind of uniqueness anymore sadly and this is why I have been watching older films as of late.
My only criticism is that I thought the first half an hour was really slow. The movie had no real direction and I was genuinely pretty bored. However, once it kicks into gear I was sat on the edge of my seat. I mentioned in the title the ending, this genuinely has to be one of the best endings to a movie I've ever seen. The twists and turns in the final 15 mins or so was amazing! I was gobsmacked. And very few films have ever managed to pull that off.
I don't have much else to really say other than it's a great movie and deserves the credit it's had over the last 22 years or so! Must watch if you haven't already.
The most enjoyment you'll have seeing a movie for the *second* time
TIDQ8 September 2004
Ah, the Usual Suspects. My personal favorite movie of all time. Don't let my bias be a fool. Perhaps it's not THE best movie ever, but it's one that I never get tired of.
If you like flash and bikinis and breath-taking camera angles, you won't find them here. Usual Suspects is not an "epic," and it doesn't pretend to be. It's a modestly-budgeted piece by a fresh director (who later went on to do the X-Men movies, a FAR departure).
A great, gritty script, beautifully-acted characters, and what many have called the greatest movie ending of all time, are some of the shining qualities that make the Usual Suspects an object worthy of praise above its humble-looking shell.
The casting is very unusual but somehow fits perfectly. Gabriel Byrne is convincing as the ex-con trying to build a new life when he gets drawn back into his old life. Stephen Baldwin has the role of his career as the smart-mouthed and cocky professional. Kevin Pollak takes a big departure from his usual good comedy self to take a more dramatic role. Benicio del Toro literally takes a one-dimensional character with absolutely nothing in the script to give him character, and he fleshes it out with brilliant mannerisms and memorable mumbling to show incredible acting creativity. Kevin Spacey as we know him was born from this movie. His manners and fast-talking yet shy gimp nature are a treat to listen to throughout the flick.
Without giving away the plot, the best and most genius parts of the movie are the subtleties. After you see the ending, and the truth hits you like a ton of bricks, you have to watch it again. On the second time through, you'll jump up and point at the screen whenever you spot a clue you missed the first time. It's even possible to watch the movie multiple times and see something new with every viewing. It's that attention to detail that make the deceptively innocent-looking Usual Suspects one of the greatest movies of all time.
If you like flash and bikinis and breath-taking camera angles, you won't find them here. Usual Suspects is not an "epic," and it doesn't pretend to be. It's a modestly-budgeted piece by a fresh director (who later went on to do the X-Men movies, a FAR departure).
A great, gritty script, beautifully-acted characters, and what many have called the greatest movie ending of all time, are some of the shining qualities that make the Usual Suspects an object worthy of praise above its humble-looking shell.
The casting is very unusual but somehow fits perfectly. Gabriel Byrne is convincing as the ex-con trying to build a new life when he gets drawn back into his old life. Stephen Baldwin has the role of his career as the smart-mouthed and cocky professional. Kevin Pollak takes a big departure from his usual good comedy self to take a more dramatic role. Benicio del Toro literally takes a one-dimensional character with absolutely nothing in the script to give him character, and he fleshes it out with brilliant mannerisms and memorable mumbling to show incredible acting creativity. Kevin Spacey as we know him was born from this movie. His manners and fast-talking yet shy gimp nature are a treat to listen to throughout the flick.
Without giving away the plot, the best and most genius parts of the movie are the subtleties. After you see the ending, and the truth hits you like a ton of bricks, you have to watch it again. On the second time through, you'll jump up and point at the screen whenever you spot a clue you missed the first time. It's even possible to watch the movie multiple times and see something new with every viewing. It's that attention to detail that make the deceptively innocent-looking Usual Suspects one of the greatest movies of all time.
A Modern Masterpiece...
TheShape_UK24 September 2001
Warning: Spoilers
DISCLAIMER: Not seen 'The Usual Suspects' yet? Then don't waste any time reading this! Rent it, buy it, borrow it, I don't mind, but watch it before you bother reading any further.
One of the main reasons that 'The Usual Suspects' leaves such a long-lasting impression on the viewer is that it takes advantage of the gullibility of the audience. For the first 100 minutes we are delivered an intriguing and complex story to which there seems no easy answer. When the final piece of the puzzle seems to be in place the entire film is turned on its head. This final revelation initially leaves you speechless and then shortly after the audience realises that they have fallen for a brilliantly inspired trick. The second great trick that this film plays on its audience is making us think that by watching it again we'll be able to understand slightly better what was really going on. The truth is that the more you try to make sense of it, the more confusing it becomes. It's probably best not to try to look for any concrete answers and just accept that we fell for the filmmaker's tricks. The success of the film is mainly thanks to the sense of satisfaction the audience is left with at the end of the film. I think that people love the idea of a story when you're not sure who you can really trust, along with the realisation that the film's most shady characters are the filmmakers themselves.
Aside from the twist the film is also unique in the way the narrative is presented. The majority of the story is told as a series of flashbacks by crippled con artist Verbal Kint (a performance which deservedly won Kevin Spacey his first Oscar). The film's other Oscar went to screenwriter Christopher McQuarrie (who also directed 'The Way of the Gun' (2000)) for his brilliantly constructed screenplay. It's a testament to the director, Bryan Singer that he was able to combine all these elements and turn them into something which is nothing short of a modern masterpiece. His moody and stylish direction help to bring the film together and perfectly complement the film's dark tone. A mention should also go to John Ottman for his skilful editing and amazing score.
The Usual Suspects is more than just a film with a clever ending. It revealed an awful lot about film audiences and showed us that their expectations can be used against them. It is also a film about story telling and the importance of myth. I think that one of the most valuable lessons that filmmakers can learn from The Usual Suspects' is that the more interesting and intriguing your story is the more your audience will believe.
The Usual Suspects was certainly not the first film to contain twist ending (the twist ending became one of Alfred Hitchcock's trademarks) and was certainly not the last ('The Sixth Sense' (1999) also used this technique effectively but left more subtle clues for the audience to pick up on their repeated viewings). Despite this 'The Usual Suspects' remains one of the most innovative and memorable crime thrillers of the nineties.
One of the main reasons that 'The Usual Suspects' leaves such a long-lasting impression on the viewer is that it takes advantage of the gullibility of the audience. For the first 100 minutes we are delivered an intriguing and complex story to which there seems no easy answer. When the final piece of the puzzle seems to be in place the entire film is turned on its head. This final revelation initially leaves you speechless and then shortly after the audience realises that they have fallen for a brilliantly inspired trick. The second great trick that this film plays on its audience is making us think that by watching it again we'll be able to understand slightly better what was really going on. The truth is that the more you try to make sense of it, the more confusing it becomes. It's probably best not to try to look for any concrete answers and just accept that we fell for the filmmaker's tricks. The success of the film is mainly thanks to the sense of satisfaction the audience is left with at the end of the film. I think that people love the idea of a story when you're not sure who you can really trust, along with the realisation that the film's most shady characters are the filmmakers themselves.
Aside from the twist the film is also unique in the way the narrative is presented. The majority of the story is told as a series of flashbacks by crippled con artist Verbal Kint (a performance which deservedly won Kevin Spacey his first Oscar). The film's other Oscar went to screenwriter Christopher McQuarrie (who also directed 'The Way of the Gun' (2000)) for his brilliantly constructed screenplay. It's a testament to the director, Bryan Singer that he was able to combine all these elements and turn them into something which is nothing short of a modern masterpiece. His moody and stylish direction help to bring the film together and perfectly complement the film's dark tone. A mention should also go to John Ottman for his skilful editing and amazing score.
The Usual Suspects is more than just a film with a clever ending. It revealed an awful lot about film audiences and showed us that their expectations can be used against them. It is also a film about story telling and the importance of myth. I think that one of the most valuable lessons that filmmakers can learn from The Usual Suspects' is that the more interesting and intriguing your story is the more your audience will believe.
The Usual Suspects was certainly not the first film to contain twist ending (the twist ending became one of Alfred Hitchcock's trademarks) and was certainly not the last ('The Sixth Sense' (1999) also used this technique effectively but left more subtle clues for the audience to pick up on their repeated viewings). Despite this 'The Usual Suspects' remains one of the most innovative and memorable crime thrillers of the nineties.
the American thriller of the nineties
dbdumonteil12 December 2005
One day in a bookshop, I flipped through a book entitled: "the movies of the nineties" and this movie wasn't included! How can a book specialized in cinema skip such a milestone of the last decade? Any movie buff, any cinema critic must have considered the nineties a fruitful era for the American thriller. According to one's tastes, some will say that the best thriller of the nineties is "Silence of the Lambs" (1991). For others it will be "Pulp Fiction" (1994) while others will praise to the skies "Se7en" (1995). For me, the pinnacle is this present movie, "the Usual Suspects" (1995) with its staggering story (to put it mildly). It's a sensational debut for Bryan Singer which enabled to put him on the map. With a little help from his accomplice Christopher McQuarrie, he signed an unparalleled gem in the landscape of the American thriller, even the whole cinema.
The average viewer who watches "the Usual Suspects" for the first time might think that the whole crew concocted him a meandering story with as a leading thread, Spacey's convoluted story. At the end of the projection, he may feel puzzled and will probably wish to watch the movie a second time. He won't regret it and Singer and McQuarrie will rejoice at it. Their masterwork gains by several repeated viewings to appreciate the subtleties of a rich movie with a convoluted construction which will take its seemingly definitive form in the five last minutes. To watch "the Usual Suspects" is like gathering the pieces of an intriguing puzzle, a little like any other suspenseful movie but in the case of Singer's flick, one will never really be able to completely end it. So many things happen in less than two hours that we are never really sure of what we watch and this is reinforced by a breathtaking unexpected twist at the end which makes our assumptions falter. Singer and McQuarrie take a mischievous delight in taking the viewer in their nebulous scenario and to follow it according to Spacey's declarations and it's obvious that they raise more questions than answers. It's up to the viewer to make his imagination work and to bring his thoughts on the film. This is what inspires its pernicious charm.
From Spacey's story, the authors developed a top quality script, set with clockwork precision. Singer's directorial style virtually evolutes on the razor's edge and conveys an increasing tension. It is filled with ingenious visual ideas and served by fluid camera movements. Singer was in his early thirties when he shot his film but it presents the signs of a seasoned author. There's also a tight editing and a unsettling score which cement the movie in its place of winner. More remarkable, the authors pull off with gusto to increase the audience's curiosity throughout the film in spite of a somewhat deliberate confusion and the interest won't weaken until the end which constitute the apex: an unexpected twist which will leave the audience speechless once they understood it. In Singer's flick, it doesn't disappoint because there are little but noticeable visual and verbal clues which justify it. However, it has something unsettling. We believe that we are at the end of the maze but there's more to the picture than meets the eye. Maybe this "coup de theatre" veils one more truth. Maybe also the shrewdest ones will have guessed it but the result is the same for any viewer: Singer puts a baffled spectator in his pocket.
Singer and Quarrie show a perfect master in the domain of the film noir: an ominous atmosphere, nocturnal scenes which stay rooted in the mind and a deep psychology of certain characters which give more substance to the film. Considering the last point, the character of Gabriel Byrne is the most interesting one: a former crooked cop who seemingly redeemed himself in catering but caught up by his past and forced to come back to work. I personally think that Byrne is the stand-out of the topflight cast the movie boasts. But don't neglect the other members. Kevin Spacey pocketed a deservedly Oscar in 1996 and the rest of the cast doesn't stay on the bench. Maybe Singer grants a little shallow attention to the three others baddies in the gang but in a way it's necessary to underscore the fact that they're lousy gangsters embroiled in a infernal spiral and unable to perceive what lies beneath all this. Pete Postlewhaite and Chazz Palminteri make their scenes count too.
A riveting storytelling, a painstaking flash-back, a tight and first-class directing, a thoughtful twist, a topnotch cast, "the Usual Suspects" includes almost everything a director would sell his soul for. Everything contributes to make it a stalwart model in the suspenseful movie and the whole cinema. After the first vision, be prepared for mental gymnastics and for a second screening...
The average viewer who watches "the Usual Suspects" for the first time might think that the whole crew concocted him a meandering story with as a leading thread, Spacey's convoluted story. At the end of the projection, he may feel puzzled and will probably wish to watch the movie a second time. He won't regret it and Singer and McQuarrie will rejoice at it. Their masterwork gains by several repeated viewings to appreciate the subtleties of a rich movie with a convoluted construction which will take its seemingly definitive form in the five last minutes. To watch "the Usual Suspects" is like gathering the pieces of an intriguing puzzle, a little like any other suspenseful movie but in the case of Singer's flick, one will never really be able to completely end it. So many things happen in less than two hours that we are never really sure of what we watch and this is reinforced by a breathtaking unexpected twist at the end which makes our assumptions falter. Singer and McQuarrie take a mischievous delight in taking the viewer in their nebulous scenario and to follow it according to Spacey's declarations and it's obvious that they raise more questions than answers. It's up to the viewer to make his imagination work and to bring his thoughts on the film. This is what inspires its pernicious charm.
From Spacey's story, the authors developed a top quality script, set with clockwork precision. Singer's directorial style virtually evolutes on the razor's edge and conveys an increasing tension. It is filled with ingenious visual ideas and served by fluid camera movements. Singer was in his early thirties when he shot his film but it presents the signs of a seasoned author. There's also a tight editing and a unsettling score which cement the movie in its place of winner. More remarkable, the authors pull off with gusto to increase the audience's curiosity throughout the film in spite of a somewhat deliberate confusion and the interest won't weaken until the end which constitute the apex: an unexpected twist which will leave the audience speechless once they understood it. In Singer's flick, it doesn't disappoint because there are little but noticeable visual and verbal clues which justify it. However, it has something unsettling. We believe that we are at the end of the maze but there's more to the picture than meets the eye. Maybe this "coup de theatre" veils one more truth. Maybe also the shrewdest ones will have guessed it but the result is the same for any viewer: Singer puts a baffled spectator in his pocket.
Singer and Quarrie show a perfect master in the domain of the film noir: an ominous atmosphere, nocturnal scenes which stay rooted in the mind and a deep psychology of certain characters which give more substance to the film. Considering the last point, the character of Gabriel Byrne is the most interesting one: a former crooked cop who seemingly redeemed himself in catering but caught up by his past and forced to come back to work. I personally think that Byrne is the stand-out of the topflight cast the movie boasts. But don't neglect the other members. Kevin Spacey pocketed a deservedly Oscar in 1996 and the rest of the cast doesn't stay on the bench. Maybe Singer grants a little shallow attention to the three others baddies in the gang but in a way it's necessary to underscore the fact that they're lousy gangsters embroiled in a infernal spiral and unable to perceive what lies beneath all this. Pete Postlewhaite and Chazz Palminteri make their scenes count too.
A riveting storytelling, a painstaking flash-back, a tight and first-class directing, a thoughtful twist, a topnotch cast, "the Usual Suspects" includes almost everything a director would sell his soul for. Everything contributes to make it a stalwart model in the suspenseful movie and the whole cinema. After the first vision, be prepared for mental gymnastics and for a second screening...
Not enough good things to say
Agent101 June 2002
Such films like this should be enshrined in museums, simply due to the fact it destroyed the entire genre of mystery films. While this film was unique and captivating, no other mystery will ever accomplish this sort of cult status, single handedly shaping a genre. While most mysteries try to shock you too often with twists and even more twists, it turns out to be overkill. This film encompassed such ideas with flair and originality, which is probably the reason Brian Singer is sticking to sci-fi action films. Only Memento and The Game are the only recent mystery movies worthy enough to stand beside this film. Sadly, Singer has somewhat sold out by doing the X-Men movies, but I guess trying to make films like this would be too taxing. This film will always bring a smile to my face when I watch it with someone who hasn't seen this movie. A good viewing every time I watch it, the new special edition DVD is awesome.
At first, wasn't the biggest fan but.....
illbebackreviews27 February 2013
I couldn't help but set rather high expectations for 'The Usual Suspects' as I went into watching this. I knew this was no action movie or any of the crap we get nowadays. This was true cinema! I was excited 'The Usual Suspects' is a mystery film about what cargo was on board the ship when it was destroyed and the events leading up to it as we are told from the only known survivor of that accident.
Around 45-50 minutes into the movie, I was starting to find myself a bit tired and thought the movie may perhaps have dragged along just a bit. I was becoming rather disappointed. Then the film truly began to change in such a way that I find it rather hard to explain. The characters began to get a little more entertaining, the pacing certainly began to pick up, the dialogue was getting more interesting and overall, I was more excited.
Then comes the amazing final twenty minutes with the plot twist and the story finally closing in perfectly, making the story more understandable. However, the final 5 minutes of the movie are some of the best moments of movie ever made and that is the ultimate plot twist which surprised the hell out of me! It was a cheering end to what ended as a great movie and a movie I would be more than happy to check out again and again! A-
Around 45-50 minutes into the movie, I was starting to find myself a bit tired and thought the movie may perhaps have dragged along just a bit. I was becoming rather disappointed. Then the film truly began to change in such a way that I find it rather hard to explain. The characters began to get a little more entertaining, the pacing certainly began to pick up, the dialogue was getting more interesting and overall, I was more excited.
Then comes the amazing final twenty minutes with the plot twist and the story finally closing in perfectly, making the story more understandable. However, the final 5 minutes of the movie are some of the best moments of movie ever made and that is the ultimate plot twist which surprised the hell out of me! It was a cheering end to what ended as a great movie and a movie I would be more than happy to check out again and again! A-
Keaton always said, "I don't believe in God, but I'm afraid of him." Well I believe in God, and the only thing that scares me is Keyser Soze.
hitchcockthelegend9 May 2020
The Usual Suspects is directed by Bryan Singer and written by Christopher McQuarrie. It stars Gabriel Byrne, Kevin Spacey, Kevin Pollack, Stephen Baldwin, Benicio Del Toro, Chazz Palminteri, Pete Postlethwaite, Giancarlo Esposito and Dan Hedaya. Music is by John Ottman and cinematography by Newton Thomas Sigel.
Held in an L.A. interrogation room, Verbal Kint (Spacey) attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor - leaving few survivors.
It sort of sidled into movie theatres in 1995 with no fanfare or heralded notices. Yet it wasn't long before word of mouth got around that The Usual Suspects might actually be the must see film of the year. Fledgeling director and writer - Singer and McQuarrie - produce a masterclass of crime/mystery/noir plotting in a whirl of intricate plot shifts and deft sleights of hand.
The core essence of the story is simple, just who is Keyser Soze? His reputation is one of utter fear, he may even be the devil himself. What transpires throughout the film is a number of scenes told in flashback form and narrated by Kint as the cops put the heat on him.
We are introduced to the five criminals who make up the suspects of the title, where dialogue pings with machismo laced humour. The addition of Postlethwaite's Kobayashi character, one of Soze's harbinger's of doom, further ups the ante of the story's deliciously corkscrew intrigue.
It all builds to a climax that - has you pondering just what you have watched previously. Yet here's the key as to why the pic still holds up on repeat viewings, we have been outsmarted, for as we dive in and enjoy the across the board great perfs, we have been privy to something that will stand the test of time for the genre it sits in. The repeat viewings factor still, some decades later, is as strong as ever.
The advent of time and home format releases etc have only improved the pic's own mythical status. Behind the scenes egos and dislikes on set only add further strength to the characterisations, as does one main man thinking he himself must be Soze when in fact he was way off. There's a trail of clues in the film that will reveal who Soze is - who knew!? - and on it goes. The Usual Suspects is the filmic gift that keeps on giving. 10/10
Held in an L.A. interrogation room, Verbal Kint (Spacey) attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor - leaving few survivors.
It sort of sidled into movie theatres in 1995 with no fanfare or heralded notices. Yet it wasn't long before word of mouth got around that The Usual Suspects might actually be the must see film of the year. Fledgeling director and writer - Singer and McQuarrie - produce a masterclass of crime/mystery/noir plotting in a whirl of intricate plot shifts and deft sleights of hand.
The core essence of the story is simple, just who is Keyser Soze? His reputation is one of utter fear, he may even be the devil himself. What transpires throughout the film is a number of scenes told in flashback form and narrated by Kint as the cops put the heat on him.
We are introduced to the five criminals who make up the suspects of the title, where dialogue pings with machismo laced humour. The addition of Postlethwaite's Kobayashi character, one of Soze's harbinger's of doom, further ups the ante of the story's deliciously corkscrew intrigue.
It all builds to a climax that - has you pondering just what you have watched previously. Yet here's the key as to why the pic still holds up on repeat viewings, we have been outsmarted, for as we dive in and enjoy the across the board great perfs, we have been privy to something that will stand the test of time for the genre it sits in. The repeat viewings factor still, some decades later, is as strong as ever.
The advent of time and home format releases etc have only improved the pic's own mythical status. Behind the scenes egos and dislikes on set only add further strength to the characterisations, as does one main man thinking he himself must be Soze when in fact he was way off. There's a trail of clues in the film that will reveal who Soze is - who knew!? - and on it goes. The Usual Suspects is the filmic gift that keeps on giving. 10/10
Relies too much on its twist
briancham199423 April 2021
The Usual Suspects only works because of its infamous twist ending. Until then, it is simply a convoluted mess that does not offer any ways to resolve its twisting and unreliable plot threads. Films with plot twists work well if they are enjoyable up until the revelation, like The Sixth Sense (1999) or The Prestige (2006). They offer enough mystery to tease a potential revelation and enough clues to figure it out. The Usual Suspects, however, revels in sheer incomprehensibility and hollowness that necessarily demands an explanation to appreciate even at a basic level. Even afterwards, the revelation clearly exists more for the audience's emotional reaction rather than making any sense within the scenario of the film. Gimmicky storytelling aside, the acting, production values and sense of suspense were all handled quite well for a low budget film.
The best film I've ever seen
www.britneyobsession.com24 November 2000
Warning: Spoilers
Although the film is perhaps a little slow in fully developing, the consequent results are astounding. Spacey's performance is captivating and will only be fully appreciated once the viewing is complete. The supporting cast, including Gabriel Byrne, provide the basis for a convincing drama which will change the way you perceive crime thrillers in the future.
One is required to discover the identity of the elusive Keyser Soze throughout the film and if it were not for the well thought-out script and professional dramatic acting then the viewer would feel a sense of anti-climax. However, this is not the case; you shall be left speechless and wondering how the film achieved its goal.
One is required to discover the identity of the elusive Keyser Soze throughout the film and if it were not for the well thought-out script and professional dramatic acting then the viewer would feel a sense of anti-climax. However, this is not the case; you shall be left speechless and wondering how the film achieved its goal.
Excellent production, but relies WAY too much on the surprise ending--which may not even be a surprise.
scaevola2 January 2001
Warning: Spoilers
This film is basically a dark, sophisticated 'caper' thriller with the added twist that the main characters are rapidly awakened to the fact that they are being ruthlessly manipulated behind the scenes. The deeper they go, the more intense the experience. While none of these guys are admirable (in fact they are all clearly trash), you can't help but feel for them. They are just so in over their heads. And the puppeteer bad guy is a nightmare.
Unfortunately I guessed its 'big secret' almost as soon as I knew there was one, and am justly disappointed. It was nice to keep getting confirmation as it went along, but I would like to have experienced the final surprise. (And I am *sure* I'm not singular in guessing the ending.)
This film really relies too much on the 'wow effect' to make its major impression (read other comments for confirmation)--always a clue that a work of art is leaning *hard* on a crutch. Take away the surprise ending, and what do you have? In this case a stylish and well-produced film with a gaping hole. For example, compare it to LA Confidential. Even if you had guessed LAs secret before they let it out, it wouldn't spoil a thing--because that film didn't rely on a plot twist for its primary punch. It had a whole basket full of assets.
I'd give this movie a 7 if its secret had been better (and more creatively) guarded. As it stands, I give it a 6 for the excellence of the entire production and that fact that I was fairly well entertained. But I won't be watching it again, whereas LA Confidential will always be on my list.
********ABSOLUTE SPOILER *************** Agatha Christie first introduced this gimmick in 1926 with The Murder of Roger Ackroyd. Beyond that, the whole gig follows the classic mystery formula right down the line: Once we realize it's a whodunit (its clearly gotta be somebody we met, otherwise no punch), the obvious choice is the 'least likely one.' And there he is, perfectly disguised to fool you into not even looking his way--a good indication you should look his way. Another giveaway is that we have one guy telling the story and everything we see is from his eyes. Makes you wonder: 1) Why did only this guy survive? 2) Who says we are seeing the truth, except him? And the big one: 3) I'm supposed to believe a *con* artist? Not.
Unfortunately I guessed its 'big secret' almost as soon as I knew there was one, and am justly disappointed. It was nice to keep getting confirmation as it went along, but I would like to have experienced the final surprise. (And I am *sure* I'm not singular in guessing the ending.)
This film really relies too much on the 'wow effect' to make its major impression (read other comments for confirmation)--always a clue that a work of art is leaning *hard* on a crutch. Take away the surprise ending, and what do you have? In this case a stylish and well-produced film with a gaping hole. For example, compare it to LA Confidential. Even if you had guessed LAs secret before they let it out, it wouldn't spoil a thing--because that film didn't rely on a plot twist for its primary punch. It had a whole basket full of assets.
I'd give this movie a 7 if its secret had been better (and more creatively) guarded. As it stands, I give it a 6 for the excellence of the entire production and that fact that I was fairly well entertained. But I won't be watching it again, whereas LA Confidential will always be on my list.
********ABSOLUTE SPOILER *************** Agatha Christie first introduced this gimmick in 1926 with The Murder of Roger Ackroyd. Beyond that, the whole gig follows the classic mystery formula right down the line: Once we realize it's a whodunit (its clearly gotta be somebody we met, otherwise no punch), the obvious choice is the 'least likely one.' And there he is, perfectly disguised to fool you into not even looking his way--a good indication you should look his way. Another giveaway is that we have one guy telling the story and everything we see is from his eyes. Makes you wonder: 1) Why did only this guy survive? 2) Who says we are seeing the truth, except him? And the big one: 3) I'm supposed to believe a *con* artist? Not.
SPOILERS: Totally Fun but Totally Over-rated once you think about it.
litenv5 February 2004
Warning: Spoilers
*SPOILERS* ONLY FOR THOSE WHO HAVE SEEN THE MOVIE *SPOILERS* ONLY FOR THOSE WHO HAVE SEEN THE MOVIE *SPOILERS* ONLY FOR THOSE WHO HAVE SEEN THE MOVIE
The movie script hangs on one completely implausible premise... That Keyser Soze would throw away $91 million which was left on the dock in order to achieve his true goal.
Also, no plausible explanation as to why Verbal Kint was in police custody in the first place. If he really is who we are led to think he is, wouldn't he be clever enough to not get caught? Is it some sort of game he plays with the police?
Too many holes in the script, a very sloppy story... but great fun and well acted. Just don't think about it too much.
The movie script hangs on one completely implausible premise... That Keyser Soze would throw away $91 million which was left on the dock in order to achieve his true goal.
Also, no plausible explanation as to why Verbal Kint was in police custody in the first place. If he really is who we are led to think he is, wouldn't he be clever enough to not get caught? Is it some sort of game he plays with the police?
Too many holes in the script, a very sloppy story... but great fun and well acted. Just don't think about it too much.
A stone cold CLASSIC!
Infofreak13 December 2001
Warning: Spoilers
'The Usual Suspects' has received a lot of comment for its killer twist ending, which while by no means the first in movie history, has proved to be enormously influential (stand up Messrs. Fincher and Shyamalan...). But this movie is so much more than a surprise ending! It is a meticulously scripted, faultlessly acted masterpiece that stands up to repeated viewings. Every single time I watch it I notice some new detail, or get more enjoyment out of a performance or scene.
This movie really put Kevin Spacey on the map, but everyone in the ensemble cast is outstanding, even Stephen Baldwin(!), who has never appeared in a movie this good before, or since. I also got a kick out of the Paul Bartel ( 'Death Race 2000', 'Eating Raoul') cameo, and the ultra-cool Peter Greene's ('Laws Of Gravity', 'Pulp Fiction') all too brief appearance. Bartel is sorely missed, and Greene one day (mark my words!) will become the star he deserves to be.
Director Bryan Singer has yet to live up to the promise shown here with his subsequent movies, the average 'Apt Pupil' and the disappointing 'X-Men'. For all the acclaim he and the (admittedly superb) cast have received, the real star of 'The Usual Suspects' is Christopher McQuarrie's sensational script, one of the finest of the modern era, and one that genuinely deserved it's Oscar.
It really doesn't get any better than this!! One of the greatest movies ever made, any time, any where. A truly unforgettable experience.
This movie really put Kevin Spacey on the map, but everyone in the ensemble cast is outstanding, even Stephen Baldwin(!), who has never appeared in a movie this good before, or since. I also got a kick out of the Paul Bartel ( 'Death Race 2000', 'Eating Raoul') cameo, and the ultra-cool Peter Greene's ('Laws Of Gravity', 'Pulp Fiction') all too brief appearance. Bartel is sorely missed, and Greene one day (mark my words!) will become the star he deserves to be.
Director Bryan Singer has yet to live up to the promise shown here with his subsequent movies, the average 'Apt Pupil' and the disappointing 'X-Men'. For all the acclaim he and the (admittedly superb) cast have received, the real star of 'The Usual Suspects' is Christopher McQuarrie's sensational script, one of the finest of the modern era, and one that genuinely deserved it's Oscar.
It really doesn't get any better than this!! One of the greatest movies ever made, any time, any where. A truly unforgettable experience.
Spacey's Best
Slarkshark31 May 2022
The interrogation, the lineup, and the story telling are all intricate to this film and really is what makes this a great movie and a 90's classic.
The lineup scene is iconic and absolutely a fan favourite no doubt. Each characters personality is defined in that one sentence.
Kevin Spacey gives a heck of a performance and for me it's definitely his best.
The lineup scene is iconic and absolutely a fan favourite no doubt. Each characters personality is defined in that one sentence.
Kevin Spacey gives a heck of a performance and for me it's definitely his best.
Then comes the twist
SnoopyStyle6 January 2014
Death and mayhem comes to the docks. The police picks up Verbal Kint (Kevin Spacey). In the interview, he recounts the events leading to the havoc at the docks. The crew meets at a sketchy line up after a truck robbery. They start working together until they are contacted by the mysterious Keyser Söze.
This is densely packed crime drama. For most of this, the audience is working hard to keep up with the characters and the story. It all makes sense but every once in a while, something sounds suspicious. When I first saw it in the theater, more than once it left me scratching my head. Then the twist comes, blows my mind, and explains all the suspicions I had.
The five men crew is played expertly by Kevin Spacey, Gabriel Byrne, Kevin Pollak, Benicio Del Toro, and Stephen Baldwin. They are all acting at the top of their games. They needed to be great to sell this noir crime drama. This is one of the best.
This is densely packed crime drama. For most of this, the audience is working hard to keep up with the characters and the story. It all makes sense but every once in a while, something sounds suspicious. When I first saw it in the theater, more than once it left me scratching my head. Then the twist comes, blows my mind, and explains all the suspicions I had.
The five men crew is played expertly by Kevin Spacey, Gabriel Byrne, Kevin Pollak, Benicio Del Toro, and Stephen Baldwin. They are all acting at the top of their games. They needed to be great to sell this noir crime drama. This is one of the best.
A true thriller!
BobHalfa14 February 2001
Warning: Spoilers
I have seen this movie many times and yet it still astonishes me every time I watch it. Even though I know the ending I still feel myself being caught up in the plot. It is possibly one of the greatest scripts of all time. I can't remember another movie in which I was completely astonished at the finale. The cast gives a tremendous performance. Kevin Spacey gives one of his two best performances (the other being as John Doe in Se7en) in my opinion. That is probably why he was awarded Best Actor for this role. It was truly deserved. Gabriel Byrne also gives a great performance. It may be the best character Stephen Baldwin has ever played. In all, this is a must for any movie collector or enthusiast.
It's a brilliant Thriller.
Sleepin_Dragon22 September 2023
When you think of 90's thrillers, you will probably think of Heat, Pulp Fiction, Silence of The Lambs and many more, and whilst Goodfellas is perhaps my favourite of them, but close behind is The Usual Suspects.
It's a wonderful, clever thriller, it's full of twists and turns, with surprises galore, it's a film that makes you think. Just when you think you know all, they pull the rug from under you, and make you think again. Direction is taut, the script is impressive.
I would argue this is one of Spacey's best ever performances, if not the best of the lot, he is phenomenal here, and really does stand out in a crowd of immense talent, hopefully he'll get his career back on track.
Gabriel Byrne and Pete Postlethwaite shine, as does Stephen Baldwin, a time where that handsome brotherhood seemed to pop up everywhere, but he was excellent also.
It's a super slick production, with some pretty fine special effects, and good use of pyrotechnics, a polished production, one that's not overdone.
This is one of those movies that you can watch and watch again, it simply doesn't diminish or lose any of its intrigue. You know there's a twist coming, you'll sit there waiting for it, and the first time round your jaw may drop, it's a very well delivered moment. The ending of this film is fabulous.
10/10.
It's a wonderful, clever thriller, it's full of twists and turns, with surprises galore, it's a film that makes you think. Just when you think you know all, they pull the rug from under you, and make you think again. Direction is taut, the script is impressive.
I would argue this is one of Spacey's best ever performances, if not the best of the lot, he is phenomenal here, and really does stand out in a crowd of immense talent, hopefully he'll get his career back on track.
Gabriel Byrne and Pete Postlethwaite shine, as does Stephen Baldwin, a time where that handsome brotherhood seemed to pop up everywhere, but he was excellent also.
It's a super slick production, with some pretty fine special effects, and good use of pyrotechnics, a polished production, one that's not overdone.
This is one of those movies that you can watch and watch again, it simply doesn't diminish or lose any of its intrigue. You know there's a twist coming, you'll sit there waiting for it, and the first time round your jaw may drop, it's a very well delivered moment. The ending of this film is fabulous.
10/10.
"and like that...he was gone."
Vishal_s_kumar21 November 2009
Boasting petty criminal characters conceived so brilliantly they achieve near-mythological status, The Usual Suspects is known for riveting suspense and action, an intriguing plot line and a jaw- dropping twist at the end. It also features some of the most memorable lines of the 1990s: "How do you shoot the devil in the back--what if you miss?" The characters, Roger "Verbal" Kint (Kevin Spacey), Dean Keaton (Gabriel Byrne), Michael McManus (Stephen Baldwin), Fred Fenster (Benicio Del Toro), Todd Hockney (Kevin Pollak), Dave Kujan (Chazz Palminteri) and Kobayashi (Pete Postlethwaite) have real character details and cues.
The film is set in the aftermath of a ship fire that totally burns the cargo and crew. Though meek and disabled, Verbal is the only survivor to walk away from the incident unscathed. He is taken into custody and grilled by the police. Brilliantly played in a characteristic, understated style that earned Spacey an Academy Award for Best Supporting Actor, Verbal is cleared and allowed to leave. But before he can go, agent Kujan from US Customs shows up to interrogate him. Kujan is trying to build a case against Keaton and he wants Verbal to testify in exchange for immunity. Verbal refuses, but Kujan still bullies Verbal into recounting his story of Keaton, McManus, Fenster and Hockney, leading up to the explosion on the ship.
What follows is a fantastic yarn of lies and half-truths sprinkled within the facts of the case. It is all masterfully portrayed as a series of flashbacks while Verbal and Kujan sip coffee and talk in the LA police station. The story begins six weeks earlier in New York City as Verbal and the other four criminals are brought in to stand side-by-side in a police lineup. None of them are formally charged with a crime, and there are indications Keaton has actually gone straight prior to the roundup. But before they are released, the five hatch a plan to get revenge on the corrupt NYPD and make a large sum of money in the process by robbing a police-protected jewel smuggler and leaking news of the police involvement to the press. Keaton is reluctant and must be coaxed into it with the promise that no one will be killed in the heist. He agrees and the quintet pulls off the robbery to perfection. The acting and writing take chances that pay off, with each actor fully immersing himself in his role. Del Toro creates a uniquely colorful persona in his portrayal of Fenster, Baldwin conveys a reckless abandon and lust for violence, Pollak shows steely courage and resolve, Byrne is a complex mesh of toughness with motives pulling him in all directions. Each actor is at the top of his game.
The five criminals go to Los Angeles to lay low in the aftermath of the New York heist. There, they are enticed into another robbery that is also supposed to involve no killing. Unfortunately, this LA heist goes horribly wrong. As Verbal recounts this carnage, its aftermath and the growing problems and hostility in the crew, agent Kujan receives a tip from one of his colleagues who has a survivor pulled from the water near the charred wreckage of the ship. The witness is badly burned and cannot speak English, but insists that the man responsible for the destruction of life and property on the ship is named Kaiser Soze.
Whether it is attributable to lies in Verbal's yarn or odd casting decisions, several characters in The Usual Suspects add to the film's mystique. Chief among these is the Irish Postlethwaite cast as the Japanese Kobayashi. There is a strong clue at the end that the name Kobayashi is used solely to mislead Kujan. But Kobayashi is not the only instance of a character's name failing to match his appearance. Another example is McManus' contact in LA, Redfoot, which one would expect to be the name of a Native American. But Redfoot appears to be caucasian. Again, at the end there is an indication that Verbal used Redfoot to avoid giving Kujan a real name. Strange ethnic inconsistencies crop up constantly. Kaiser Soze is said to be Turkish, possibly with a German father. These mixed-up character portraits add a layer of complexity to the plot, but one must always consider the source, Verbal Kint, and his motives.
The dynamic between Kujan and Verbal itself is pure entertainment. A kind of cat-and-mouse game, nuances are thrown into the proceedings that make it more interesting and add depth to the characters. Even the way the interrogation is filmed is unique. Verbal didn't achieve his nickname for no reason. He knows how to run his mouth and Kujan has a difficult challenge in corralling him. Underlying the interrogation is Kujan's suspicion of Keaton and his belief that Keaton manipulated Verbal. But Verbal is hard to pin down and Kujan occasionally resorts to bully tactics. But who is Kaiser Soze? Did he orchestrate the police lineup in New York, and pull all the strings ever since? Is the cargo of the ship drugs or only human cargo? Why did Verbal survive unharmed while so many others did not? Did Keaton really die, as Verbal insists, or did he slip away, as Kujan believes? Is Verbal telling the truth? Much is revealed in the final moments of the film, which wash over the viewer like an enormous wave of recognition. Snippets of dialogue from earlier in the film are montaged over the complex score, providing spine-tingling clues about exactly what part of Verbal's yarn was fact and what was fiction. The final snippet of dialogue, followed by a fortissimo string finale is especially powerful: "and like that...he was gone."
The film is set in the aftermath of a ship fire that totally burns the cargo and crew. Though meek and disabled, Verbal is the only survivor to walk away from the incident unscathed. He is taken into custody and grilled by the police. Brilliantly played in a characteristic, understated style that earned Spacey an Academy Award for Best Supporting Actor, Verbal is cleared and allowed to leave. But before he can go, agent Kujan from US Customs shows up to interrogate him. Kujan is trying to build a case against Keaton and he wants Verbal to testify in exchange for immunity. Verbal refuses, but Kujan still bullies Verbal into recounting his story of Keaton, McManus, Fenster and Hockney, leading up to the explosion on the ship.
What follows is a fantastic yarn of lies and half-truths sprinkled within the facts of the case. It is all masterfully portrayed as a series of flashbacks while Verbal and Kujan sip coffee and talk in the LA police station. The story begins six weeks earlier in New York City as Verbal and the other four criminals are brought in to stand side-by-side in a police lineup. None of them are formally charged with a crime, and there are indications Keaton has actually gone straight prior to the roundup. But before they are released, the five hatch a plan to get revenge on the corrupt NYPD and make a large sum of money in the process by robbing a police-protected jewel smuggler and leaking news of the police involvement to the press. Keaton is reluctant and must be coaxed into it with the promise that no one will be killed in the heist. He agrees and the quintet pulls off the robbery to perfection. The acting and writing take chances that pay off, with each actor fully immersing himself in his role. Del Toro creates a uniquely colorful persona in his portrayal of Fenster, Baldwin conveys a reckless abandon and lust for violence, Pollak shows steely courage and resolve, Byrne is a complex mesh of toughness with motives pulling him in all directions. Each actor is at the top of his game.
The five criminals go to Los Angeles to lay low in the aftermath of the New York heist. There, they are enticed into another robbery that is also supposed to involve no killing. Unfortunately, this LA heist goes horribly wrong. As Verbal recounts this carnage, its aftermath and the growing problems and hostility in the crew, agent Kujan receives a tip from one of his colleagues who has a survivor pulled from the water near the charred wreckage of the ship. The witness is badly burned and cannot speak English, but insists that the man responsible for the destruction of life and property on the ship is named Kaiser Soze.
Whether it is attributable to lies in Verbal's yarn or odd casting decisions, several characters in The Usual Suspects add to the film's mystique. Chief among these is the Irish Postlethwaite cast as the Japanese Kobayashi. There is a strong clue at the end that the name Kobayashi is used solely to mislead Kujan. But Kobayashi is not the only instance of a character's name failing to match his appearance. Another example is McManus' contact in LA, Redfoot, which one would expect to be the name of a Native American. But Redfoot appears to be caucasian. Again, at the end there is an indication that Verbal used Redfoot to avoid giving Kujan a real name. Strange ethnic inconsistencies crop up constantly. Kaiser Soze is said to be Turkish, possibly with a German father. These mixed-up character portraits add a layer of complexity to the plot, but one must always consider the source, Verbal Kint, and his motives.
The dynamic between Kujan and Verbal itself is pure entertainment. A kind of cat-and-mouse game, nuances are thrown into the proceedings that make it more interesting and add depth to the characters. Even the way the interrogation is filmed is unique. Verbal didn't achieve his nickname for no reason. He knows how to run his mouth and Kujan has a difficult challenge in corralling him. Underlying the interrogation is Kujan's suspicion of Keaton and his belief that Keaton manipulated Verbal. But Verbal is hard to pin down and Kujan occasionally resorts to bully tactics. But who is Kaiser Soze? Did he orchestrate the police lineup in New York, and pull all the strings ever since? Is the cargo of the ship drugs or only human cargo? Why did Verbal survive unharmed while so many others did not? Did Keaton really die, as Verbal insists, or did he slip away, as Kujan believes? Is Verbal telling the truth? Much is revealed in the final moments of the film, which wash over the viewer like an enormous wave of recognition. Snippets of dialogue from earlier in the film are montaged over the complex score, providing spine-tingling clues about exactly what part of Verbal's yarn was fact and what was fiction. The final snippet of dialogue, followed by a fortissimo string finale is especially powerful: "and like that...he was gone."
Stylish crime drama with little content
bandw6 February 2006
Warning: Spoilers
[**Major spoilers**] This movie began on a sour note in the opening scene with a man on an upper floor pissing down onto a ribbon of flaming gasoline on a lower floor to put it out. Right off we know that there is going to have to be some major suspension of disbelief.
The story line is not nearly as complicated as it is made out to be. Within the context of this movie, maybe that was a goal. I never did figure out what the deal was with the image of the rope heading into a rat's nest of junk that was shown several times.
A real problem for me was that the two main thugs in this were not at all threatening. The final plot twist only furthered this dissonance - it was kind of like finding out that behind the mask of Darth Vader we find Pee-wee Herman. And I felt manipulated by the final twist (that was in fact somewhat anticipated, after all Verbal was smoking his cigarette in the Turkish style). Are we to believe that Verbal boarded the boat and changed into a fedora and black overcoat to perform the crucial murder? What was the point of that besides trying to fool the audience?
And so many times in the exchanges between Verbal and Kujan, I felt I was watching actors rather than characters.
The bottom line on this movie is that it is no more than a tricked out episode of "Law and Order" without offering anything substantial to think about after it's over.
The story line is not nearly as complicated as it is made out to be. Within the context of this movie, maybe that was a goal. I never did figure out what the deal was with the image of the rope heading into a rat's nest of junk that was shown several times.
A real problem for me was that the two main thugs in this were not at all threatening. The final plot twist only furthered this dissonance - it was kind of like finding out that behind the mask of Darth Vader we find Pee-wee Herman. And I felt manipulated by the final twist (that was in fact somewhat anticipated, after all Verbal was smoking his cigarette in the Turkish style). Are we to believe that Verbal boarded the boat and changed into a fedora and black overcoat to perform the crucial murder? What was the point of that besides trying to fool the audience?
And so many times in the exchanges between Verbal and Kujan, I felt I was watching actors rather than characters.
The bottom line on this movie is that it is no more than a tricked out episode of "Law and Order" without offering anything substantial to think about after it's over.
A Perfectly Crafted Mystery - (very ambiguous spoiler)
mstomaso4 February 2005
Warning: Spoilers
Kaiser Soze is a super-criminal of almost comic-book stature. Legendary among an underground of testosterone and nicotine-driven low-life 'usual suspects' of this film - Soze - remains unseen, fantastic, just outside of the camera's view, and detached from any reality we might call familiar or real. Nevertheless, he is the central character in the film, and the single force of will driving the entire film. The viewer, like the characters portrayed, must constantly ask 'Who is Kaiser Soze, does he even exist?", and - as silly as it might seem - "is he the devil himself?".
Soze's irresistible will is represented and enforced by an emissary (the stone-faced Pete Postlethwaite) who is just as cold-hearted as any of the hardened criminals who comprise 'The Usual Suspects'.
The narrative begins and almost ends as a retrospective with just a bit of very necessary voice-over narrative by Spacey. His character - Verbal Kint - is interrogated by Palmintieri concerning the murder of several hardened criminals in a single night aboard Russian ship. Most of the major plot points are highlighted wonderfully by the changes of pace and camera work afforded by the shift between one plot - the events leading to Kint's interrogation - and another - the interrogation itself.
Kint, physically disabled and emotionally disturbed, is himself a desperate, down-on-his luck, petty criminal whose chief talent seems to be getting mixed up with and attaching himself to more talented criminals. His latest 'friend' - Keating (Byrne) is a brilliant but depressive thief who is trying to straighten his life out for a woman lawyer he has fallen for. But along with the other 'usual suspects' - expert safe crackers, con men and sociopaths (possibly the best performance of Stephen Baldwin's career thus far) all - Keating is swept up into agreeing to do 'one final job'. In a fine piece of character interpetation, Byrne plays denial to the hilt telling himself that this job, if successful, could end his life in crime permanently.
These expert thieves, con men and killers meet in a bogus police line-up one night and from that point on, they are bound together under the control of Soze until they either succeed or fail in the crime he has laid before them.
Soze has been betrayed, whether directly or indirectly, by each of these men, and he leaves them all no choice. Accept the crime plan or die. They accept, knowing that their odds of success are, to say the least, very limited.
The entire feeling of this film shifts radically from the action of the main plot (described in Kint's narrative) and the narrative itself (Kint's interrogation). While this may look simply like a clever piece of film work, it is actually a very brilliant plot device, as both story lines are finally united in the stunning and brilliant finish.
While I am not usually a ready fan of mysteries, and even less interested in thrillers, this film was pure entertainment from start to finish.
Director Singer has established himself as a pioneer in ensemble cast direction, and this film alone (his third) should have awarded him that title.
The performances are, without exception, flawless. While flawlessness or some approximation of it is something I generally expect from people like Spacey, Byrne, and Del Toro, many of the folks in this film very much surprised me. I now watch out for folks like Kevin Pollak, for example. Without detracting from the performers whatsoever, some credit for the stunning quality of the performances must go to the director, editor, script and cinematography team. This film makes them all look positively great.
I was bitterly disappointed by the fact that this film did not take many Academy Awards in its release year. While I realize that the academy's choices do not always reflect quality or achievement, I prefer to maintain at least a superficial guise of hopefulness. The fact that Usual Suspects did not win for editing was the biggest shock. I can not think of a better piece of editing.
Soze's irresistible will is represented and enforced by an emissary (the stone-faced Pete Postlethwaite) who is just as cold-hearted as any of the hardened criminals who comprise 'The Usual Suspects'.
The narrative begins and almost ends as a retrospective with just a bit of very necessary voice-over narrative by Spacey. His character - Verbal Kint - is interrogated by Palmintieri concerning the murder of several hardened criminals in a single night aboard Russian ship. Most of the major plot points are highlighted wonderfully by the changes of pace and camera work afforded by the shift between one plot - the events leading to Kint's interrogation - and another - the interrogation itself.
Kint, physically disabled and emotionally disturbed, is himself a desperate, down-on-his luck, petty criminal whose chief talent seems to be getting mixed up with and attaching himself to more talented criminals. His latest 'friend' - Keating (Byrne) is a brilliant but depressive thief who is trying to straighten his life out for a woman lawyer he has fallen for. But along with the other 'usual suspects' - expert safe crackers, con men and sociopaths (possibly the best performance of Stephen Baldwin's career thus far) all - Keating is swept up into agreeing to do 'one final job'. In a fine piece of character interpetation, Byrne plays denial to the hilt telling himself that this job, if successful, could end his life in crime permanently.
These expert thieves, con men and killers meet in a bogus police line-up one night and from that point on, they are bound together under the control of Soze until they either succeed or fail in the crime he has laid before them.
Soze has been betrayed, whether directly or indirectly, by each of these men, and he leaves them all no choice. Accept the crime plan or die. They accept, knowing that their odds of success are, to say the least, very limited.
The entire feeling of this film shifts radically from the action of the main plot (described in Kint's narrative) and the narrative itself (Kint's interrogation). While this may look simply like a clever piece of film work, it is actually a very brilliant plot device, as both story lines are finally united in the stunning and brilliant finish.
While I am not usually a ready fan of mysteries, and even less interested in thrillers, this film was pure entertainment from start to finish.
Director Singer has established himself as a pioneer in ensemble cast direction, and this film alone (his third) should have awarded him that title.
The performances are, without exception, flawless. While flawlessness or some approximation of it is something I generally expect from people like Spacey, Byrne, and Del Toro, many of the folks in this film very much surprised me. I now watch out for folks like Kevin Pollak, for example. Without detracting from the performers whatsoever, some credit for the stunning quality of the performances must go to the director, editor, script and cinematography team. This film makes them all look positively great.
I was bitterly disappointed by the fact that this film did not take many Academy Awards in its release year. While I realize that the academy's choices do not always reflect quality or achievement, I prefer to maintain at least a superficial guise of hopefulness. The fact that Usual Suspects did not win for editing was the biggest shock. I can not think of a better piece of editing.
The cake is a lie.
hovering_above27 May 2013
Warning: Spoilers
I love movies with big twist ending. I love movies that play with your mind and leave you completely confused until the very end where everything finally makes sense.
So I should like 'The Usual Suspects', right? Let's see: Confusing plot? Check. Big twist? Check. Point of the whole movie? NONE.
This movie attempts to be clever by blatantly treating you, the audience, as an idiot. I pushed through this boring, big mess of a movie expecting a huge final revelation that would put all the puzzles pieces together. In the end, the movie throws all the puzzle pieces into the fire and laughs at you.
*****SPOILERS***** (but really, don't bother watching, just read)
What makes a good mystery thriller movie? CLUES! You are supposed to leave clues for the audiences to pick up so that when they watch the movie for a second time, they can bang their heads and say "Why didn't I notice that the first time?" In this movie, there is NO CLUE at all. Keyser Soze could have been ANYONE of the characters. The audience could never really know who is Keyser because the whole time we are forced to watch the movie from Verbal's own flawed and purposely misguided perspective!
The 'twist' is one big joke. So Verbal is lying all the time? That's a twist? You dare to call that a twist? How brilliant! I could have never see that coming!! No, really. You could have never see it coming because there is literally NO WAY for you to see it coming; nothing is revealed until the movie almost ended. The only way you could have guessed is because, you know, "the weakest, least suspicious man is probably the killer!" What a cliché. The ending basically makes the rest of the movie completely pointless, and gives no reason for me to re-watch the movie again, because it would be like listening to a liar tell a story all over again.
The plot is another one big problem. The entire first hour of the movie could have been scrapped off and still makes the movie a coherent story. All the useless, boring dialogues, all the random robberies and gun shooting, did absolutely NOTHING to advance the main story or develop any of the character. Nothing relevant actually happens until the part where Kobayashi popped up and revealed the main plot about Keyser Soze and the boat hijacking. So, bad twist ending aside, the plot doesn't do the movie any justice either.
The acting? Nothing amazing. What Verbal does in nearly the whole movie is limp and talk, talk, talk while giving a straight and near- emotionless face. Casting any middle-aged balding actor as Verbal would have achieved the same effect. I can't say Spacey is a bad actor because I don't think he is, but his performance as Verbal is certainly not Oscar-worthy.
*****END SPOILER*****
I understand that movie ratings are subjected to personal tastes and perceptions. I can understand why so many people like movies such as 'The Dark Knight' or 'Reservoir Dogs' even though I find them highly overrated. But I simply cannot accept that a movie like 'The Usual Suspects' is hailed as "the greatest twist movie ever" even after 20 years, when there are so many better ones like 'The Sixth Sense', 'Memento', 'Fight Club', or the highly underrated 'Identity'.
Spend your two hours wisely. On anything. Just not on this movie.
So I should like 'The Usual Suspects', right? Let's see: Confusing plot? Check. Big twist? Check. Point of the whole movie? NONE.
This movie attempts to be clever by blatantly treating you, the audience, as an idiot. I pushed through this boring, big mess of a movie expecting a huge final revelation that would put all the puzzles pieces together. In the end, the movie throws all the puzzle pieces into the fire and laughs at you.
*****SPOILERS***** (but really, don't bother watching, just read)
What makes a good mystery thriller movie? CLUES! You are supposed to leave clues for the audiences to pick up so that when they watch the movie for a second time, they can bang their heads and say "Why didn't I notice that the first time?" In this movie, there is NO CLUE at all. Keyser Soze could have been ANYONE of the characters. The audience could never really know who is Keyser because the whole time we are forced to watch the movie from Verbal's own flawed and purposely misguided perspective!
The 'twist' is one big joke. So Verbal is lying all the time? That's a twist? You dare to call that a twist? How brilliant! I could have never see that coming!! No, really. You could have never see it coming because there is literally NO WAY for you to see it coming; nothing is revealed until the movie almost ended. The only way you could have guessed is because, you know, "the weakest, least suspicious man is probably the killer!" What a cliché. The ending basically makes the rest of the movie completely pointless, and gives no reason for me to re-watch the movie again, because it would be like listening to a liar tell a story all over again.
The plot is another one big problem. The entire first hour of the movie could have been scrapped off and still makes the movie a coherent story. All the useless, boring dialogues, all the random robberies and gun shooting, did absolutely NOTHING to advance the main story or develop any of the character. Nothing relevant actually happens until the part where Kobayashi popped up and revealed the main plot about Keyser Soze and the boat hijacking. So, bad twist ending aside, the plot doesn't do the movie any justice either.
The acting? Nothing amazing. What Verbal does in nearly the whole movie is limp and talk, talk, talk while giving a straight and near- emotionless face. Casting any middle-aged balding actor as Verbal would have achieved the same effect. I can't say Spacey is a bad actor because I don't think he is, but his performance as Verbal is certainly not Oscar-worthy.
*****END SPOILER*****
I understand that movie ratings are subjected to personal tastes and perceptions. I can understand why so many people like movies such as 'The Dark Knight' or 'Reservoir Dogs' even though I find them highly overrated. But I simply cannot accept that a movie like 'The Usual Suspects' is hailed as "the greatest twist movie ever" even after 20 years, when there are so many better ones like 'The Sixth Sense', 'Memento', 'Fight Club', or the highly underrated 'Identity'.
Spend your two hours wisely. On anything. Just not on this movie.
Better than the sum of its parts
tjowen16 February 2003
The Usual Suspects is two movies in one. Enjoyable the first time you watch it, even more enjoyable the second time round. The first viewing asks questions that are answered in an `I could kick myself' moment in the final few minutes, and the second viewing is interesting because when you know the answers, the film becomes that much clearer. It requires a certain amount of commitment, though. Be warned, if you stop concentrating for a moment then the remaining running time of the movie will be spent trying to figure out how what you missed has lead to what you are now watching.
It concerns the story of five felons brought in by the police for a line-up and how those same felons reluctantly end up working for the mysterious and ghost-like Keyser Soze: a legend among the criminal fraternity, a man who no-one has seen and lived, a man so dangerous that he is thought to be the devil himself.you get the idea. The plot is rather intricate so I shan't bother to explain it here but it does rather make me think that Christopher McQuarrie, the writer, kept going to the office in the morning with yet another complexity to add that he thought up the night before. That's not to say it doesn't work, far from it, but it does leave you reeling from the sheer amount of information and names thrown at you from the offset.
Gabriel Byrne is good, but not flawless, as the tortured Dean Keaton who is torn between his career as a criminal and his forlorn attempt at trying to go straight, but his relationship with uptown lawyer Edie Finneran (Suzy Amis) is badly explored and I never felt it gave motive enough for his actions throughout the movie. Kevin Spacey is wonderful as the crippled Roger 'Verbal' Kint and is effective with the results both cunning and tragic. The real star of the movie, however, is a strangely accented Pete Postlethwaite as Kobayashi, supposedly Keyser Soze's right-hand man. He effortlessly plays a character of terrible coolness and poker-faced efficiency leading the dance that the rest of the characters must follow.
Director Bryan Singer has done well to bring such a momentous and involved screenplay to life and any gripes I may have cannot detract from the fact that the film, as a whole, is much better than the sum of its parts.
It concerns the story of five felons brought in by the police for a line-up and how those same felons reluctantly end up working for the mysterious and ghost-like Keyser Soze: a legend among the criminal fraternity, a man who no-one has seen and lived, a man so dangerous that he is thought to be the devil himself.you get the idea. The plot is rather intricate so I shan't bother to explain it here but it does rather make me think that Christopher McQuarrie, the writer, kept going to the office in the morning with yet another complexity to add that he thought up the night before. That's not to say it doesn't work, far from it, but it does leave you reeling from the sheer amount of information and names thrown at you from the offset.
Gabriel Byrne is good, but not flawless, as the tortured Dean Keaton who is torn between his career as a criminal and his forlorn attempt at trying to go straight, but his relationship with uptown lawyer Edie Finneran (Suzy Amis) is badly explored and I never felt it gave motive enough for his actions throughout the movie. Kevin Spacey is wonderful as the crippled Roger 'Verbal' Kint and is effective with the results both cunning and tragic. The real star of the movie, however, is a strangely accented Pete Postlethwaite as Kobayashi, supposedly Keyser Soze's right-hand man. He effortlessly plays a character of terrible coolness and poker-faced efficiency leading the dance that the rest of the characters must follow.
Director Bryan Singer has done well to bring such a momentous and involved screenplay to life and any gripes I may have cannot detract from the fact that the film, as a whole, is much better than the sum of its parts.
Frighteningly excellent
Macca315 September 2000
Warning: Spoilers
The Usual Suspects, is, in my mind, one of the most fantastic pieces of film-making ever to grace our screens. That a group of people can come up with a piece of fiction that is so excellent in every way, from start to finish, is frightening. Who knows, maybe this film has no superior.
A lot is made of the film's ending. Not for a moment am I going to let slip what exactly that is. I would never deny another film lover the sheer sense of amazement that ran through my body when the film reached its climax. While not the film's only strong point; this is a masterpiece ALL the way through, the ending will blow you away.
The cast is, in a word, flawless. Kevin Spacey has, as far as I am concerned, never been better. He turns in a performance that is so moving and outstanding that he should have got three Oscars. But he is not alone. Byrne is fantastic, Del Toro adds continental flair, and Postlethwaite is disturbingly dark, yet calculated.
By all means watch this film, and observe its strong points, from Bryan Singer's masterful direction to the equally pleasing musical score. Prepare yourself for a rollercoaster ride and the best ending EVER in a film made anywhere in the world. I mean that.
Oh, and when you have finished; by all means, watch it again!
9.7/10
Nothing in life is 100% perfect now is it?
A lot is made of the film's ending. Not for a moment am I going to let slip what exactly that is. I would never deny another film lover the sheer sense of amazement that ran through my body when the film reached its climax. While not the film's only strong point; this is a masterpiece ALL the way through, the ending will blow you away.
The cast is, in a word, flawless. Kevin Spacey has, as far as I am concerned, never been better. He turns in a performance that is so moving and outstanding that he should have got three Oscars. But he is not alone. Byrne is fantastic, Del Toro adds continental flair, and Postlethwaite is disturbingly dark, yet calculated.
By all means watch this film, and observe its strong points, from Bryan Singer's masterful direction to the equally pleasing musical score. Prepare yourself for a rollercoaster ride and the best ending EVER in a film made anywhere in the world. I mean that.
Oh, and when you have finished; by all means, watch it again!
9.7/10
Nothing in life is 100% perfect now is it?
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
