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Movies / Upcoming / The Statement
The Statement

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The Statement (2003)

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23 %
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Reviews Counted:105

Fresh:24

Rotten:81

Average Rating:4.7/10

Consensus: The movie bores despite a splendid performance by Michael Caine.

Runtime: 2 hrs

Genre: Dramas

US Box Office: $537,875

Synopsis: Dombey, France, 1944 – In line with Nazi commands, PIERRE BROSSARD (Michael Caine), a young officer in the Vichy Milice, gives the order for the execution of 7 Jews. France, Present Day – DAVID... Dombey, France, 1944 – In line with Nazi commands, PIERRE BROSSARD (Michael Caine), a young officer in the Vichy Milice, gives the order for the execution of 7 Jews. France, Present Day – DAVID MANDELBAUM (Matt Craven), 42, has been hired to kill a man he can identify only through an old photograph to be PIERRE BROSSARD. He is to leave a statement on the body citing this act as justice for the Jews of Dombey. He waits at a bar in the cote d'Azur, knowing that BROSSARD is due to arrive to pick-up a letter. Recognizing BROSSARD, he follows him out of the bar and then by car into the deserted hillside. When DAVID attempts to ambush him on the road to the Abbey de St Cros, the wily and quick BROSSARD manages to turn the tables and instead kills DAVID, disposing of the body by rolling the car over a cliff into a ravine. Shaken by the encounter, BROSSARD realizes that he must find new shelter immediately. Aside from being protected by elements within the church, Brossard has also been helped by a group of former Vichy colleagues. He turns to his Vichy contact, COMMISSAIRE VIONNET (Frank Finlay), for guidance. Meanwhile, in the Palais de Justice in Paris, JUDGE ANNE MARIE LIVI (Tilda Swinton) opens her investigation of BROSSARD who has now been charged with crimes against humanity. ANNE MARIE explains to COLONEL ROUX (Jeremy Northam), whom she has enlisted to assist her, that they must be wary of everyone until they discover who has been sheltering BROSSARD for all these years. She also adds that she is determined to expose the church as an accomplice for providing BROSSARD with a safe haven. Unbeknownst to ANNE MARIE, DAVID's failure means that another hit man – MICHAEL LEAVY (Noam Jenkins) – has been placed on BROSSARD's trail. MICHAEL's sole contact with his employers is through a man named POCHON (Ciaran Hinds) who gives him instructions. Through various intercepts, ANNE MARIE and ROUX advance their investigation to the point where they now believe that BROSSARD has been hidden by a secret group within the church called the Chevaliers and that a vigilante Jewish organization is trying to assassinate BROSSARD. ANNE MARIE's diligence catches the attention of high government officials and she is called in to see MINISTER BERTIER (Alan Bates), an old family friend who nevertheless warns her against pursuing this matter. He threatens her with dire consequences. But ANNE MARIE LIVI is not so easily deterred. ROUX visits BROSSARD's confessor and champion CARDINAL LE MOYNE (William Hutt) to whom just hours previously BROSSARD admitted his culpability in DAVID's death. ROUX is unable to extract information from LE MOYNE because LE MOYNE defends BROSSARD as a man who once erred but has since become a repentant Christian. As DAVID's body is discovered in the ravine near St Cros, ROUX heads to the region to gather evidence from the local police. ANNE MARIE, frustrated by the lack of answers, is determined to go public with BROSSARD's photograph – convinced that the press coverage will force him out into the open. In one sense she proves to be correct as BROSSARD is turned away from some religious houses that are worried both about the newspapers and the new directive from the Cardinal de Lyon forbidding anyone to help BROSSARD. In another sense, however, this exposure drives BROSSARD into deeper hiding. BROSSARD goes to the one place he knows no one will find him: the apartment of his estranged wife, NICOLE (Charlotte Rampling). Less than thrilled to see him, NICOLE only allows him to stay when he threatens to harm her beloved dog. The investigation by ANNE MARIE and ROUX as well as the instructions given to MICHAEL point them all in the direction of an Abbey where, indeed, BROSSARD is hiding. At the crack of dawn, with MICHAEL waiting in a nearby car, ROUX and ANNE MARIE arrive with soldiers and a search warrant. Unluckily for them all, BROSSARD, with instincts sharpened from years of hiding, evades them at the last moment. In his haste, he abandons many of his personal effects and these serve as valuable clues for ROUX and ANNE MARIE. BROSSARD hurries to the Bar Mathieu where he expects his usual stipend to arrive by post. At the bar, MICHAEL waits in the toilet, hoping to kill BROSSARD. BROSSARD again is too suspicious and too quick, shooting MICHAEL before he can draw his gun. He escapes before MICHAEL's body is found and the police are involved. Hunted from all sides, BROSSARD moves again – this time to the Priory of St Donat. In BROSSARD's possessions ROUX and ANNE MARIE discover a list of Abbeys with dates alongside. They also find an old photograph from 1944 showing BROSSARD and another young man. Could this young man be the octogenarian for whom POCHON works? Back in Paris, we see POCHON being scolded by an elderly gentleman who now commands that POCHON himself get rid of BROSSARD. BROSSARD contacts his Vichy contact, the COMMISSAIRE, and learns that their mutual friend POCHON will meet him with a passport and everything needed to start a new life. Meanwhile, ROUX and ANNE MARIE plan another ambush – on the Priory of St Donat. Again, they are foiled by members of the church who help BROSSARD escape before they can search the Priory. They learn of the COMMISSAIRE's connection to BROSSARD and send the police to arrest him. Under interrogation the COMMISSAIRE provides details for the rendezvous between POCHON and BROSSARD. ROUX and ANNE MARIE rush to the meeting place but are too late. POCHON has already executed BROSSARD, pinning the Statement to his chest. It is, however, BROSSARD's death that allows ANNE MARIE to apprehend POCHON and through him, uncover the deeper conspiracy. -- © Sony Pictures Classics [More]

Starring: Michael Caine, Tilda Swinton, Jeremy Northam, Charlotte Rampling

Starring: Michael Caine, Tilda Swinton, Jeremy Northam, Charlotte Rampling, Alan Bates, Matt Craven, Frank Finlay, Ciaran Hinds, Noam Jenkins, David De Keyser, John Neville

Director: Norman Jewison

Director: Norman Jewison
Screenwriter: Ronald Harwood
Producer: Robert Lantos, Norman Jewison
Composer: Normand Corbeil
Studio: Sony Pictures Classics

[See More Credits]

Reviews for The Statement

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21 - 40 (sorted by date; Australian critics are listed first)
Text View | |< << 1 2 3 4 5 6 >> >|
Arrange By:Fresh | Rotten | Comments | Name | Source | Date
 
 

It's a shame that a film with this much potential could be turned into such a dull, pedestrian affair.

Full Review Source: EricDSnider.com | comment Comment
03/21/04
Eric D. Snider
Eric D. Snider
EricDSnider.com

Little more than a rote pursuit thriller.

Full Review Source: Orlando Weekly | comment Comment
03/19/04
Steve Schneider
Steve Schneider
Orlando Weekly

This is a creaky, obsolete sort of film, not an instant classic, but an instant antique.

Full Review Source: Orlando Sentinel | comment Comment
03/19/04
Jay Boyar
Jay Boyar
Orlando Sentinel

Ends up being tedious.

Full Review Source: Oregonian | comment Comment
03/19/04
M.E. Russell
M.E. Russell
Oregonian

Seems more an excuse to attack a target than an exercise in solid storytelling.

Full Review Source: Miami Herald | comment Comment
03/19/04
Connie Ogle
Connie Ogle
Miami Herald

The film is rather unbelievable, even though it's based on real-life tales of the Vichy Milice.

Full Review Source: Deseret News, Salt Lake City | comment Comment
03/19/04
Jeff Vice
Jeff Vice
Deseret News, Salt Lake City

This Ludlum-esque political thriller... might be funny if it wasn't exploiting such a serious topic as the Holocaust.

Full Review Source: Salt Lake Tribune | comment Comment
03/19/04
Sean Means
Sean Means
Salt Lake Tribune

'Rome,' 'Paris,' 'Provence,' 'London' -- labels like these pop up so often in The Statement you're not sure if you're watching a movie or reading a map. But a map would be more compelling.

Full Review Source: St. Paul Pioneer Press | comment Comment
03/18/04
Chris Hewitt (St. Paul)
Chris Hewitt (St. Paul)
St. Paul Pioneer Press

The Statement elicits more yawns than gasps and plays like a second-rate rerun from Sunday afternoon television.

Full Review Source: South Florida Sun-Sentinel | comment Comment
03/18/04
Laura Kelly
Laura Kelly
South Florida Sun-Sentinel

not all roses, but it's a decent, well-made thriller of the sort that we don't get much anymore... It's tempting to say that we're getting Caine's best work only now.

Full Review Source: F5 (Wichita, KS) | comment Comment
03/18/04
Jake Euker
Jake Euker
F5 (Wichita, KS)

Plodding and predictable.

Full Review Source: BBC | comment Comment
03/16/04
Nev Pierce
Nev Pierce
BBC

Click to read the article

Full Review Source: Austin Chronicle | comment Comment
03/16/04
Steve Davis
Steve Davis
Austin Chronicle

Worth catching for Caine's bravura turn as a despicable old man begging for sympathy, and also for its fascinating insights into the darker side of both France and the Catholic Church.

Full Review Source: Sacramento Bee | comment Comment
03/05/04
Joe Baltake
Joe Baltake
Sacramento Bee

Caine's good, but his Cockney accent is the most unlikely voice to emerge from a French character since Cary Grant was Capt. Henri Rochard in 'I Was a Male War Bride'...

Full Review Source: Commercial Appeal (Memphis, TN) | comment Comment
02/25/04
John Beifuss
John Beifuss
Commercial Appeal (Memphis, TN)

The movie is a dinosaur, lumbering around in slow motion knocking over mountains of exposition.

Full Review Source: Philadelphia Weekly | comment Comment
02/25/04
Sean Burns
Sean Burns
Philadelphia Weekly

Neither thrilling nor credible, despite its top-notch cast.

Full Review Source: Philadelphia Daily News | comment Comment
02/20/04
Gary Thompson
Gary Thompson
Philadelphia Daily News

Partly because of Caine and partly because of meticulous work by veteran director Norman Jewison, The Statement is a fiction done so effectively, it rings true -- even slick lines that may otherwise be rancid.

Full Review Source: Philadelphia Inquirer | comment Comment
02/19/04
Howard Shapiro
Howard Shapiro
Philadelphia Inquirer
N/R

Click to read the article

Full Review Source: PopMatters | comment Comment
02/13/04
Michael Healey
Michael Healey
PopMatters

It winds up not making much of a statement at all.

Full Review Source: Oregon Herald | comment Comment
02/10/04
Mark Sells
Mark Sells
Oregon Herald

An inert sociopolitical thriller mired in moralizing.

Full Review Source: Houston Chronicle | comment Comment
02/06/04
Bruce Westbrook
Bruce Westbrook
Houston Chronicle
 
 
21 - 40 (sorted by date; Australian critics are listed first)
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