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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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101 - 113 (sorted by date; Australian critics are listed first)
Text View | |< << 1 2 3 4 5 6
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Never working up anywhere near the tension or the interest it thinks it has, The Statement is pedestrian almost from beginning to end.

Full Review Source: Los Angeles Times | comment Comment
12/11/03
Kenneth Turan
Kenneth Turan
Los Angeles Times
Top Critic Icon Top Critic

The drama starts with great promise, but loses credibility when it lapses into long stretches of hackneyed dialogue and a general failure to make the central character convincing as a deeply religious man who is also a self-absorbed psychopath.

Full Review Source: Christian Science Monitor | comment Comment
12/11/03
David Sterritt
David Sterritt
Christian Science Monitor

A surprisingly mild thriller, one that meanders and spasms dramatically, and that, despite its occasional outburst of violence, wastes a cast of ordinarily superb actors.

Full Review Source: Newsday | comment Comment
12/11/03
John Anderson
John Anderson
Newsday

when the “mystery” is finally uncovered, it’s an embarrassment, the Hardy Boys could have handled this thing in 15 minutes.

Full Review Source: Filmcritic.com | comment Comment
12/11/03
Chris Barsanti
Chris Barsanti
Filmcritic.com

...comes alive only when Caine is on screen (but) somewhere under the stilted surface there is a savvy, intelligent, anxiety-packed political thriller struggling to get out.

Full Review Source: SPLICEDWire | comment Comment
12/11/03
Rob Blackwelder
Rob Blackwelder
SPLICEDWire

This classy cast ... surely deserves better by way of character development, and almost all seem to compensate with wild overacting.

Full Review Source: L.A. Weekly | comment Comment
12/10/03
Ella Taylor
Ella Taylor
L.A. Weekly

If any actor could reveal the squirmy soul of a war criminal, it's Caine, so it feels like a cheat when The Statement gives him nothing to portray but self-condemnation.

Full Review Source: Entertainment Weekly | comment Comment
12/10/03
Owen Gleiberman
Owen Gleiberman
Entertainment Weekly

Ends up second-guessing its own high-minded strivings, not trustful enough of its audience to be sophisticated about history and ethics, and not pulpy enough to keep us awake.

Full Review Source: Village Voice | comment Comment
12/09/03
Michael Atkinson
Michael Atkinson
Village Voice

A serious drama based on a novel by Brian Moore that explores crimes against humanity, the activities of a right-wing organization in the Catholic Church, and forgiveness.

Full Review Source: Spirituality and Practice | comment Comment
12/07/03
Frederic and Mary Ann Brussat
Frederic and Mary Ann Brussat
Spirituality and Practice

A taut drama recalling the ever-present search for Nazi war criminals.

Full Review Source: Compuserve | comment Comment
12/03/03
Harvey S. Karten
Harvey S. Karten
Compuserve

The movie loses dramatic tension, its thrills and terrors enervated by the burden of didacticism.

Full Review Source: Film Journal International | comment Comment
11/25/03
Rex Roberts
Rex Roberts
Film Journal International

The Statement never delves too deeply into the pitch-black heart of its premise.

Full Review Source: Slant Magazine | comment Comment
11/15/03
Jeremiah Kipp
Jeremiah Kipp
Slant Magazine

Splendid performances, especially from leads Michael Caine, Tilda Swinton and Jeremy Northam, a pulse-quickening pace and production values that establish story and character within a distinct environment.

Full Review Source: Hollywood Reporter | comment Comment
11/14/03
Kirk Honeycutt
Kirk Honeycutt
Hollywood Reporter
 
 
101 - 113 (sorted by date; Australian critics are listed first)
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