The drama in the film's final confrontation (the one after the climax) is not enhanced by this approach.īoth the primary and supporting players are effectively cast.
Martial law movie new york series#
These ideas are implicit in each frame of the movie and in every action that Washington's Hubbard takes - we don't need everything spelled out in a series of short sermons. Denzel Washington turns into a mouthpiece for the merits of freedom, law, and justice. During the last fifteen minutes, the film becomes preachy. One notable flaw keeps The Siege from being a four-star movie. There are concentration camps and unlawful internments, all in the name of the "greater good." And there's a horrifyingly ironic twist that illustrates the old cliché about the chickens coming home to roost. The Palestinian community in 1998 New York is treated exactly as Japanese Americans were during World War II. The Siege also examines (albeit superficially) the potential for the abuse of power when the Constitution is suspended. This is not an attempt at a "tell all" expose of what goes into a government cover-up, but a look at the complexities inherent when so many secrets and lies are involved. government (namely, the army, the FBI, and the CIA). In addition to the FBI's investigation, considerable time is spent exploring the distrustful relationships that exist between various segments of the U.S. One of the reasons that The Siege works so well is that a lot is going on simultaneously, both on the surface and just beneath it. Yet, as the twin threats of a catastrophic terrorist action and the implementation of martial law grow greater, Hubbard finds that time is against him.
Hubbard develops an uneasy alliance with CIA agent Elise Kraft (Annette Bening), whose department knows more about the situation than they're willing to reveal. His staff is comprised of smart, energetic, intelligent men and women very much unlike the usual group of moronic Feds we're used to seeing in movies. Devereaux argues against that eventuality, but is nevertheless ready to lead 10,000 men into action on American soil.Īnother person not in favor of martial law is Anthony Hubbard (Denzel Washington), the FBI agent in charge of investigating the terrorist activities. As the wave of terrorist activity crests, the President must consider if the only way to save the city and break the grip of fear is to declare martial law. A bus is destroyed, killing 25 civilians. The only warning the FBI receives is a single, cryptic message: "Release him." Then all hell breaks loose in New York. When a special branch of the United States military, under the command of General William Devereaux (Bruce Willis), takes prisoner suspected terrorist mastermind Sheik Ahmed Bin Talal, Islamic fundamentalists across the world take notice. The setting is New York City, one of the most likely (and vulnerable) American targets for terrorism. The Siege is a thriller, to be sure, but it's a thinking person's thriller, where pyrotechnics give way to plot, character development supplants fight scenes, and adrenaline does not short-circuit intelligence. Despite one early car chase and the presence of Bruce Willis, this is not that kind of movie. Typically, this premise is used as a springboard for an action adventure flick - an opportunity for Steven Seagal to use his martial arts, George Clooney to flash his pearly whites, or 007 to save the world. This is not a unique motion picture scenario, but Zwick's approach is new. With a grim realism and a slow progression of events that seems entirely plausible, The Siege postulates what might happen if an American city becomes the target of international terrorists. This is one of the best films of the year to be released by a major studio. But those few who go in anticipation of another fine outing by Zwick will not be disappointed. Nevertheless, most people seeing The Siege will be there because of Denzel Washington, Bruce Willis, Annette Bening, or a provocative ad campaign. Even his unsuccessful ventures, such as Leaving Normal (a road trip movie with Meg Tilley and Christine Lahti), have been interesting failures. His name will not sell tickets, but his work speaks for itself: Glory, Legends of the Fall, Courage under Fire. Although the average movie-goer recognizes the names of directors like Scorsese, Spielberg, Zemeckis, and Stone, Zwick is relatively unknown. It's not hard to argue that Edward Zwick is one of the best Hollywood film makers toiling in obscurity.
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