The execution prompts an Emergency Services Unit team into action. They plan to storm the bank, using rubber bullets to knock out those inside. Frazier discovers that the robbers have planted a listening device on the police; aware of the police plans, the robbers detonate smoke grenades, remove their disguises, and exit the bank with the hostages.
Russell repeats his opening monologue while hiding behind a fake wall the robbers had constructed inside the bank's supply room. He emerges a week after the robbery with the contents of Case's safe deposit box, including incriminating documents and several bags of diamonds. On his way out, he bumps into Frazier, who does not recognize him. He exits the bank and enters a waiting van filled with his conspirators, some of whom the police had questioned.
House of Pain spent 10 days working on Gangstas iz Genocide. Alba digitally photographed images of buildings near the Marcy Houses in Brooklyn, New York. Portions of the sequence were pre-visualized in 3D Studio Max, while stills were imported as texture maps and added to animated cut scenes created in 3D modeling package Maya. The artists also improvised the use of a hand grenade. When Lee saw how violent the sequence was, he improvised the line \"Kill Dat Nigga!\" as a subtitle. The entire sequence was rendered out to play onscreen in full frame. The original running time of the animated sequence was 60 seconds. Lee cut it to 30 seconds, feeling that a shorter length would make more of an impact. Upon Inside Man's theatrical release, he remarked that, \"The sad thing is somebody is probably gonna make a game out of it and take that as inspiration.\"
Manohla Dargis of The New York Times wrote \"\"Inside Man\" works because it takes a familiar setup -- in this case, a Wall Street bank heist that mutates into a hostage crisis -- and twists it ever so slightly. A particularly solid screenplay helps here, as do stars who can actually act -- this film's holy trinity being Denzel Washington, Clive Owen and Jodie Foster -- along with an excellent supporting cast and the best lineup of pusses and mugs outside \"The Sopranos.\"\" The Wall Street Journal wrote \"Our willingness to go along with the film's flaws is a tribute to its strengths, and to a cast that includes Chiwetel Ejiofor and Willem Dafoe, plus scores of character actors in small but striking roles.\" Empire gave the film four stars out of five, concluding, \"It's certainly a Spike Lee film, but no Spike Lee Joint. Still, he's delivered a pacy, vigorous and frequently masterful take on a well-worn genre. Thanks to some slick lens work and a cast on cracking form, Lee proves (perhaps above all to himself) that playing it straight is not always a bad thing.\" Wesley Morris of The Boston Globe wrote, \"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.\" David Ansen of Newsweek commented, \"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.\" Giving the film a B+ rating, Lisa Schwarzbaum of Entertainment Weekly described the film as \"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.\"
To give the movie its due, many of these same questions occur to the hero, Det. Keith Frazier. He is played by Denzel Washington as a cross between a street cop and one of those armchair sleuths who sees through a crime and patiently explains it to his inferiors. Frazier is early on the scene after four armed robbers invade a Wall Street bank, take hostages, and start issuing demands. As the crisis drags on, Frazier realizes the guys inside don't want their demands to be met; they're stalling. But why
The robbers are led by Clive Owen, who spends most of the movie wearing a mask. Since we see him in the first shot of the film, talking about the crime in the past tense, we know he won't be killed. What we wonder is where he studied the craft of bank robbery. His gang walks in, bolts the door, has everyone lie flat on the floor, and does all the usual stuff like leaping over teller partitions and intimidating weeping customers. They also throw around completely unnecessary smoke bombs, and the smoke drifts out to the street, alerting a beat cop that something is wrong. Did they want to be trapped inside the bank
This is Madeline White (Jodie Foster). She knows everybody. She can walk into the mayor's office without an appointment. The mayor orders the cops to \"extend her every courtesy.\" Who or what is Madeline White I've seen the movie, and I don't know. She is never convincingly explained, and what she does is not well-defined. She's one of those characters who is all buildup and no delivery.
The whole plot smells fishy. It's not that the movie is hiding something, but that when it's revealed, it's been left sitting too long at room temperature. \"Inside Man\" goes to much difficulty to arrive at too little. It starts with the taut action of a superior caper movie, but then it meanders; eventually the narration slows to the pace of a Garrison Keillor story on \"A Prairie Home Companion,\" which is nice if you are a prairie, but if not, not.
In a smaller role, Christopher Plummer (\"Syriana, \" \"The New World\") is wonderfully circum- spect as a cagey bank executive. Willem Dafoe (\"The Life Aquatic With Steve Zissou, \" \"Spider-Man\"), however, is wasted as the leader of a police tactical unit.
Although the movie is one of Lee's most polished productions, he relies at least once too often on Hitchcock's favorite technique to change spatial perspective in a scene and suggest psychological distress. (The technique combines a zoom with a dolly moving in the opposite direction, keeping the main subject the same size on screen while the character's environment seems to collapse in or expand out.) In one instance in \"Inside Man, \" the result is a ragged-looking, unconvincing shot of Washington, seeming to float down a street when he's supposed to be running.
The man, a 26-year-old living in New Delhi, sought medical attention after experiencing pain and swelling in his testicles, along with minor fevers, for around a month. After conducting a quick ultrasound scan, doctors spotted multiple parasitic worms packed inside his scrotal skin.
Blood analysis revealed that the beasties were juvenile Wuchereria bancrofti, a type of parasitic nematode, or roundworm, found in tropical regions and transmitted between humans through mosquito bites. The worms have life spans of up to eight years and, upon developing into adults inside human lymphatic vessels, will mate to produce millions of wriggling offspring called microfilariae.
Now it's on to a bank-robbery thriller, ''Inside Man,\" which stars Denzel Washington, Clive Owen, Jodie Foster, Chiwetel Ejiofor, Willem Dafoe, and Christopher Plummer. This is probably Lee's most purely enjoyable movie, a radical departure, too, insofar as its package is conventional genre stuff with a twist of French crime classic. But the script, by first-timer Russell Gewirtz, is skintight (for a Lee film), and Lee's filmmaking is playful yet unusually calm.
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. The first 10 minutes are a wonderful reminder of why I haven't been inside a bank in almost two years, and it's not because a gang disguised as painters might walk in and hold up the place. It's because people on cellphones waiting in line seem more annoying than people with guns.
The man running the operation is Dalton Russell, a peevish dude played by Owen with his usual growling insinuation. In the first scene, he looks right into the camera and brags that he's planned an ingenious heist. Part of its genius includes forcing his dozens of hostages to strip to their skivvies and put on dark, hooded coveralls that match the robbers'. This could be the start of ''Die Hard 6.\" But by this point, the movie has already distinguished itself.
Just as those two wings of the movie get going, the film leaves the tension at the bank and drops in on a posh apartment, where Madeline White (Foster) is about to get a call from the bank's stern owner (Plummer). He'd like her to fetch something ''secret\" from his safe deposit box. Madeline cuts through the movie with great occupational vagueness.
These three sides build to a number of nifty, if implausible, climaxes. More than its plot and the admittedly bizarre motives behind the bank robbery, ''Inside Man\" is a personality-driven throwback with one foot firmly in this era. A couple of times someone references a Sidney Lumet picture, and in some respects this movie might have been one of his. But this is Lee's third film since 9/11, and you can feel the sociopolitical ground shifting.
This is a big Hollywood movie, with Lee's usual truckload of ideas and energetic performances from the entire cast. Washington hasn't been this relaxed in years. When he feels like it he can be the most charismatic star in the movies. His smile, which he flashes in the joshing interrogation scenes sprinkled throughout the film, is a dentist's dream. This is a simmering, intelligent piece of acting that, for a change, stays below the emotional radar. Washington is having a good time. So is Foster, who seems happy not to have to roll up her sleeves and bruise people. She and Washington have a pair of crackling scenes together in which they really seem to be studying each other. Enough can't be said of actors who like their material. If they buy it, so will we.
And Lee is suavely selling -- but not selling out. He's found a way to matter as an entertainer without copping out as