An Interpol agent attempts to expose a high-profile financial institution's role in an international arms dealing ring.An Interpol agent attempts to expose a high-profile financial institution's role in an international arms dealing ring.An Interpol agent attempts to expose a high-profile financial institution's role in an international arms dealing ring.
- Awards
- 1 win & 1 nomination
Luca Barbareschi
- Umberto Calvini
- (as Luca Giorgio Barbareschi)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAn explosive shootout scene is set inside New York's famous Guggenheim Museum. The production team used the Guggenheim's original blueprints to build a full-size replica of its interior in an abandoned locomotive warehouse. Construction took four months.
- GoofsWhen Salinger and Karssen meet on the Grand Bazaar rooftop in Istanbul, both characters are backlit, even though they are facing each other. (According to the DVD commentary, the director wanted both to be lit by a dramatic back light. The scene was filmed twice, once in the morning and once in the evening. After cutting between the two shoots, the sun is behind both actors in the scene.)
- Quotes
Wilhelm Wexler: Sometimes a man can meet his destiny on the road he took to avoid it.
- Crazy creditsDuring the credits fade-in on the second and third newspaper printed articles, look above the main story of focus and you will see articles that reference a company by the name of SuckleOil, which is most likely a nod to Producer Richard Suckle.
- SoundtracksStrange Brew
Written by Eric Clapton, Gail Collins and Felix Pappalardi
Performed by Cream
Courtesy of Universal International Music B.V.
Under license from Universal Music Enterprises
Featured review
A life in film is a wonderful thing, in part because of the people you come to know intimately.
You learn how certain filmmakers twist ideas. How their imagination is shaped. Sometimes it is beautiful. Sometimes it stays beautiful and by not changing loses its luster. Then you have guys like Tykwer. He develops. He tries new moves. He thinks deeply about film. He's the guy who reimagined "Rashomon." He's the fellow who stood with Cate Blanchett looking as Kieslowski with a Kieslowski script by God!
He made a film based on sight as smell, and recently one on cinematic sight through blindness.
Now he makes an action movie with, guess what? No sex, no car chase, no fight on the top of a train, no gasoline explosions. And he doesn't rely on that newspaper notion of "a thinking man's thriller," because he deliberately makes the template so ordinary it fades from view. It hardly matters that there is a bank involved. Its all about that vanilla bugaboo, the conspiracy that compromises the authorities and (usually) involves arms. Really, the story disappears.
What we are left with is an amazing use of context. I've seen James Bond, Jason Bourne and Laura Croft traipse through famous cities, but their beings are never affected. Tykwer, I surmise, saw this as an opportunity to do a Kieslowski with cities instead of rooms. Look at what he does, its an entirely environmental film. Its not quite enough, but if you are there already, its sublime.
What else? Well, test audiences did not get it, so there was a scene replaced, the one in the Guggenheim. If you have ever been in that building it is remarkable. Its a failure, an intrusive imposition. You can see where Frank knew that corners were bad, but he so mismanages the eye that you retreat into the art, or try too. Its an amazing, disturbing experience. Tykwer exploits the very things about this space that make it so unnerving.
He pretty much gleefully trashes it. This one scene, added after the movie was finished, makes the whole adventure worthwhile.
If you know architectural cinema, you'll know it was invented by Welles and depends on planes and corners. These are absent here. We have a new method, a new eye.
Ted's Evaluation -- 3 of 3: Worth watching.
You learn how certain filmmakers twist ideas. How their imagination is shaped. Sometimes it is beautiful. Sometimes it stays beautiful and by not changing loses its luster. Then you have guys like Tykwer. He develops. He tries new moves. He thinks deeply about film. He's the guy who reimagined "Rashomon." He's the fellow who stood with Cate Blanchett looking as Kieslowski with a Kieslowski script by God!
He made a film based on sight as smell, and recently one on cinematic sight through blindness.
Now he makes an action movie with, guess what? No sex, no car chase, no fight on the top of a train, no gasoline explosions. And he doesn't rely on that newspaper notion of "a thinking man's thriller," because he deliberately makes the template so ordinary it fades from view. It hardly matters that there is a bank involved. Its all about that vanilla bugaboo, the conspiracy that compromises the authorities and (usually) involves arms. Really, the story disappears.
What we are left with is an amazing use of context. I've seen James Bond, Jason Bourne and Laura Croft traipse through famous cities, but their beings are never affected. Tykwer, I surmise, saw this as an opportunity to do a Kieslowski with cities instead of rooms. Look at what he does, its an entirely environmental film. Its not quite enough, but if you are there already, its sublime.
What else? Well, test audiences did not get it, so there was a scene replaced, the one in the Guggenheim. If you have ever been in that building it is remarkable. Its a failure, an intrusive imposition. You can see where Frank knew that corners were bad, but he so mismanages the eye that you retreat into the art, or try too. Its an amazing, disturbing experience. Tykwer exploits the very things about this space that make it so unnerving.
He pretty much gleefully trashes it. This one scene, added after the movie was finished, makes the whole adventure worthwhile.
If you know architectural cinema, you'll know it was invented by Welles and depends on planes and corners. These are absent here. We have a new method, a new eye.
Ted's Evaluation -- 3 of 3: Worth watching.
Details
- Release date
- Countries of origin
- Official sites
- Languages
- Also known as
- Khủng Bố Quốc Tế
- Filming locations
- Autostadt, Wolfsburg, Lower Saxony, Germany(Calvini's headquarters)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $50,000,000 (estimated)
- Gross US & Canada
- $25,450,527
- Opening weekend US & Canada
- $9,331,739
- Feb 15, 2009
- Gross worldwide
- $60,253,843
- Runtime1 hour 58 minutes
- Color
- Sound mix
- Aspect ratio
- 2.40 : 1
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