Since I first watched it as a rented video on September, 6, 1999, it became a classic action. Few movies have that rank in my book. Here, the journey of Marshal (Samuel Gerard) continues, however with another fugitive. Most of Hollywood sequels are badly-written, pretty hasty, and repeat their original at best. But this time, it even outclassed its original. (The Fugitive - 1993) was well-made entertainment, yet too long, somehow uninteresting with Mr. (Harrison Ford), not to mention that I remember falling asleep in front of it at the first watching! While I have been hooked by (U.S. Marshals), for countless times.
(Tommy Lee Jones) returns to the character that brought him the Oscar. That reminded me of (Charles Laughton) when he won the Oscar for portraying (Henry VIII) in (The Private Life of Henry VIII - 1933), then returned to the same character in (Young Bess - 1953). There is a certain love for the Oscar's part I suppose. But, aside from that, I believe (Jones) loved to come back because how he and (Gerard) are very alike. The first always says: "I do not have a sense of humor of any recognizable sort", (Harrison Ford) said once: "Acting with him is like having a fork in your back all the time!", and (Will Smith) has stated that: "He's my buddy, but it's hard to be a friend of someone who doesn't lie at all!". So I think (Tommy), one way or another, was playing himself. Or maybe he gave the character a lot of his own.
I liked the character's reactions. When he was told: "He's dangerous, armed, well-trained, what will you intent to do?", he replayed simply and seriously: "Catch him!", not "Catch him, sir" or "That lowlife criminal is mine" or "I'm the one who's going to learn this loser the meaning of PAIN!" to the end of Dirty Harry-Sly-The SuperCops dictionary in any other American action. Or when he was among the investigators in (Irene Jacob)'s apartment, notice well that he doesn't speak unless for harmless remakes, looking the most kind or naive one in the bunch, till the end of the scene. Or when he comes to his senses near the climax, choosing not to kill the fugitive. Over and above, (Jones) mastered some good physical efforts as well.
However, (Jones) is accused of repeating himself. While being a master actor, every now and then, he's forced to do the same thing again. For instance, he was the man who chases the innocent till he catches him, then convinces his innocence in (The Fugitive). Then the same man yet with a love interest and a desire to avenge in (U.S. Marshals - 1998). Then he sort of remade it again with a fugitive woman in (Double Jeopardy - 1999). And he did it once more, with less talk and more action, in (The Hunted - 2003)!
It's full of perfect chases. The long sequence in the movie's middle is superb; I don't remember anything like it in (The Fugitive). The problem is that the climax looks so pale compared to it. All the cast did their best. Yes, (Irene Jacob) was nothing but the escapee's charming scared girl; the way most of the American movies deal with talented European actresses. But she provided that character with great sensitivity.
The dialogue was close to spontaneous; representing hot, honest and funny moments; like all the conversations between (Jones) and (Joe Pantoliano). This script was accurate. Even the idiot points, such as arresting (Wesley Snipes) character because of the medicine that he takes, have been presented fast enough so you couldn't glimpse. No wonder, since director (Stuart Baird) was originally one of Hollywood top-notch editors for 2 decades before becoming a director in the mid-1990s.
I recall the authentic poster in the video store back then. It had just small photo for (Jones) looking sullen and the rest of it was for (Snipes) jumping from the roof. I bet the movie makers were proud of themselves for making this astonishing stunt in specific. Although it got my admiration, but I have to hate the fact that the movie gave up one shot in which (Snipes) salutes (Jones) sarcastically, a la' military way, while he's above the train; I deem it the best finish to this outrageous sequence. Though you'll never find it unless in the movie's trailer!
OK, now for something magical. While I watched the movie 3 times already, I didn't notice something that even at the fourth time my mom was the one who noticed it and told me about it; after (Jones) discovered the truth of (Downey. Jr), he tricks him like adept magician, emptying (Downey)'s gun in front of him, and us, while no one is looking. The thing is how (Jones) was that charismatic to pull the trick off so I, as a pro viewer, didn't observe that, and for many times too?! It seems that the director betted on (Jones)'s presence and he, clearly, won.
Finally, I liked the movie's sense of honoring; starting from the slightly strange title, to the last scene with (Jerry Goldsmith)'s melody crowns the victorious marshals.
Yes, it's a sequel, straight action, Hollywood stuff, but not with the bad reputation of that. And (Jones), (Gerard) both were great.
(Tommy Lee Jones) returns to the character that brought him the Oscar. That reminded me of (Charles Laughton) when he won the Oscar for portraying (Henry VIII) in (The Private Life of Henry VIII - 1933), then returned to the same character in (Young Bess - 1953). There is a certain love for the Oscar's part I suppose. But, aside from that, I believe (Jones) loved to come back because how he and (Gerard) are very alike. The first always says: "I do not have a sense of humor of any recognizable sort", (Harrison Ford) said once: "Acting with him is like having a fork in your back all the time!", and (Will Smith) has stated that: "He's my buddy, but it's hard to be a friend of someone who doesn't lie at all!". So I think (Tommy), one way or another, was playing himself. Or maybe he gave the character a lot of his own.
I liked the character's reactions. When he was told: "He's dangerous, armed, well-trained, what will you intent to do?", he replayed simply and seriously: "Catch him!", not "Catch him, sir" or "That lowlife criminal is mine" or "I'm the one who's going to learn this loser the meaning of PAIN!" to the end of Dirty Harry-Sly-The SuperCops dictionary in any other American action. Or when he was among the investigators in (Irene Jacob)'s apartment, notice well that he doesn't speak unless for harmless remakes, looking the most kind or naive one in the bunch, till the end of the scene. Or when he comes to his senses near the climax, choosing not to kill the fugitive. Over and above, (Jones) mastered some good physical efforts as well.
However, (Jones) is accused of repeating himself. While being a master actor, every now and then, he's forced to do the same thing again. For instance, he was the man who chases the innocent till he catches him, then convinces his innocence in (The Fugitive). Then the same man yet with a love interest and a desire to avenge in (U.S. Marshals - 1998). Then he sort of remade it again with a fugitive woman in (Double Jeopardy - 1999). And he did it once more, with less talk and more action, in (The Hunted - 2003)!
It's full of perfect chases. The long sequence in the movie's middle is superb; I don't remember anything like it in (The Fugitive). The problem is that the climax looks so pale compared to it. All the cast did their best. Yes, (Irene Jacob) was nothing but the escapee's charming scared girl; the way most of the American movies deal with talented European actresses. But she provided that character with great sensitivity.
The dialogue was close to spontaneous; representing hot, honest and funny moments; like all the conversations between (Jones) and (Joe Pantoliano). This script was accurate. Even the idiot points, such as arresting (Wesley Snipes) character because of the medicine that he takes, have been presented fast enough so you couldn't glimpse. No wonder, since director (Stuart Baird) was originally one of Hollywood top-notch editors for 2 decades before becoming a director in the mid-1990s.
I recall the authentic poster in the video store back then. It had just small photo for (Jones) looking sullen and the rest of it was for (Snipes) jumping from the roof. I bet the movie makers were proud of themselves for making this astonishing stunt in specific. Although it got my admiration, but I have to hate the fact that the movie gave up one shot in which (Snipes) salutes (Jones) sarcastically, a la' military way, while he's above the train; I deem it the best finish to this outrageous sequence. Though you'll never find it unless in the movie's trailer!
OK, now for something magical. While I watched the movie 3 times already, I didn't notice something that even at the fourth time my mom was the one who noticed it and told me about it; after (Jones) discovered the truth of (Downey. Jr), he tricks him like adept magician, emptying (Downey)'s gun in front of him, and us, while no one is looking. The thing is how (Jones) was that charismatic to pull the trick off so I, as a pro viewer, didn't observe that, and for many times too?! It seems that the director betted on (Jones)'s presence and he, clearly, won.
Finally, I liked the movie's sense of honoring; starting from the slightly strange title, to the last scene with (Jerry Goldsmith)'s melody crowns the victorious marshals.
Yes, it's a sequel, straight action, Hollywood stuff, but not with the bad reputation of that. And (Jones), (Gerard) both were great.